This article may be expanded with text translated from the corresponding article in the Portuguese Wikipedia. (March 2009) Don't speak Portuguese? Click here to read a machine-translated version of the Portuguese article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|pt|Choro (música)}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Pixinguinha (1897-1973) is one of the most important choro composers of all time.

Joaquim Callado (1848-1880) is considered one of the creators of the choro genre of music.

Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity, improvisation, subtile modulations and full of syncopation and counterpoint. Choro is considered the first urban popular music typical of Brazil.

Choro instruments[link]

Instruments commonly played in choro

Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.

Compositional structure[link]

Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key (usually the tonal sequence is: principal key->relative mode->sub-dominant key^[1]). There are a variety of choros in both major and minor keys.

History[link]

	O Urubu e o Gavião Choro "O Urubu e o Gavião" (or "Urubu Malandro"), recorded in 1930 by Pixinguinha on the flute
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	Harmonia Selvagem Choro "Harmonia Selvagem" composed by Dante Santoro. Recorded by Dante Santoro (flute) in 1938.
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	Amapá Choro (maxixe/brasilian tango) "Amapá" composed by Costa Júnior in 1901. Recorded by Dante Santoro (flute) in 1941.
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	Aguenta, seu Fulgêncio Choro "Aguenta, seu Fulgêncio", composed by Lourenço Lamartine and played by Pixinguinha (flute) and Lourenço Lamartine. Recorded in 1929.
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	Sofres porque queres Choro Sofres porque queres, recorded in 1919 by Pixinguinha on the flute
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	Escovado "Escovado", composed (1905) and recorded (1930) by Ernesto_Nazareth (piano).
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	Mariana em Sarrilho Polca-choro "Mariana em Sarrilho", composed by Irineu de Almeida, recorded in 1907 by Grupo do Novo Cordão
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	Tico Tico no Fubá Choro "Tico Tico no Fubá". Composed by Zequinha de Abreu. Recorded in 1931 by Orquestra Colbaz.
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	Magoado Choro "Magoado", composed and recorded (in 1930) by João Pernambuco (guitar).
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	Massada Choro "Massada" composed by Lulu Cavaquinho, recorded in 1911 by Choro Carioca
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	Sultana Polca-choro "Sultana", composed by Chiquinha Gonzaga, recorded in 1908 by the Grupo Chiquinha Gonzaga
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	Corta jaca Choro (maxixe) "Corta jaca", composed by Chiquinha Gonzaga and executed by the Grupo Chiquinha Gonzaga. Recorded in 1910-1912.
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	Atraente Choro (maxixe) "Atraente", composed by Chiquinha Gonzaga, recorded by Pixinguinha (saxophone) and Benedito Lacerda (flute).
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	1 x 0 Choro "1 x 0" (ou "Um a zero"), composed by Pixinguinha and Benedito Lacerda. Played by Pixinguinha (saxophone) and Benedito Lacerda (flute).
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Chiquinha Gonzaga (1847-1935)

Viriato Figueira (1851-1883)

Ernesto Nazareth (1863-1934)

In the 19th century, choro resulted from the style of playing several musical genres (polka, schottische, waltz, mazurka and habanera) by carioca musicians, who were already strongly influenced by African rhythms, principally the lundu and the batuque. The term “choro” was used informally at first to refer to the style of playing, or a particular instrumental ensemble, (e.g. in the 1870s flutist Joaquim Antônio da Silva Callado formed an ensemble called "Choro Carioca", with flute, two guitars and cavaquinho),^[2][3] and later the term referred to the music genre of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro") was played by these choro ensembles. Various genres were incorporated as subgenres of choro such as "choro-polca", "choro-lundu" "choro-xote" (from schottische), "choro-mazurca", "choro-valsa" (waltz), "choro-maxixe", "samba-choro", "choro baião".^[4]

Just like ragtime in the United States, tango in Argentina and habanera in Cuba, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.

In the beginning (by the 1880s to 1920s), the success of choro came from informal groups of friends (principally workers of postal/telegraphic service and railway^[5]) which played in parties, pubs (botecos), streets, home balls (forrobodós), and also the large success of musical scores of Ernesto Nazareth, Chiquinha Gonzaga and others pianists, published by print houses.^[3] By the 1910s, many of the first Brazilian phonograph records are choros.

Much of the mainstream success (by the 1930s to 1940s) of this style of music came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by urban samba in radio, but was still alive in amateur circles called "rodas de choro" (choro gatherings in residences and botecos), the one most famous was the "roda de choro" in the house of Jacob do Bandolim, in Jacarepaguá, and the "roda de choro" in the pub "suvaco de cobra" in the Penha.

In the late 1970s there was a successful effort to revitalize the genre in the mainstream, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of professional musicians. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Mike Marshall and Maurita Murphy Mead, who have brought this kind of music to a new audience.

Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, bringing it to the classical tradition.^[6] The French composer Darius Milhaud was enchanted by choro when he lived in Brazil (in 1917) and he composed the ballet Le Boeuf sur le toit, in which he quotes close to 30 Brazilian tunes.^[7]

According to Aquiles Rique Reis (a Brazilian singer), ”Choro is classical music played with bare feet and callus on the hands”^[8]

Notable Brazilian choro musicians[link]

Wikimedia Commons has media related to: Choro

• Abel Ferreira
• Altamiro Carrilho
• Armando Neves (Armandinho)
• Benedito Lacerda
• Carlinhos 7 cordas
• Chiquinha Gonzaga
• Chôro das 3
• Dilermando Reis
• Dino 7 Cordas
• Ernesto Nazareth
• Garoto
• Hamilton de Holanda
• Henrique Cazes
• Irineu de Almeida
• Israel Bueno de Almeida
• Izaias Bueno de Almeida
• Jacob do Bandolim
• João Pernambuco pt:João Pernambuco
• Luiz Otavio Braga
• Luizinho 7 Cordas
• Luperce Miranda
• Manoel Jacintho Coelho pt:Manoel Jacintho Coelho
• Maurício Carrilho
• Milton Móri
• Nailor 'Proveta' Azevedo
• Oscar Castro Neves
• Paulo Bellinati
• Paulo Moura
• Paulo Sérgio dos Santos
• Pixinguinha
• Raphael Rabello
• Silvério Pontes
• Waldir Azevedo
• Zé Barbeiro
• Zé da Velha

Notable choro compositions[link]

• "Brejeiro" (Ernesto Nazareth)
• "Apanhei-te Cavaquinho" (Ernesto Nazareth)
• "Odeon" (Ernesto Nazareth)
• "Carinhoso" (Pixinguinha)
• "Lamentos" (Pixinguinha)
• "Segura Ele" (Pixinguinha)
• "Um a zero" (Pixinguinha)
• "Vou Vivendo" (Pixinguinha)
• "Brasileirinho" (Waldir Azevedo)
• "Pedacinhos do Céu" (Waldir Azevedo)
• "Doce de Coco" (Jacob do Bandolim)
• "Noites Cariocas" (Jacob do Bandolim)
• "Tico-Tico no Fubá" (Zequinha de Abreu)
• "Meu caro amigo" (Chico Buarque e Francis Hime)
• "Meu amigo Radamés" (Antonio Carlos Jobim)
• "Choros nos. 1 to 14" (Heitor Villa-Lobos)
• "Choro no. 2" (Armando Neves)

See also[link]

• Lundu
• Frevo
• Maxixe
• Samba
• Jongo

Suggested reading[link]

• Livingston-Isenhour, T., and Garcia, T. G. C. (2005). Choro: A Social History of a Brazilian Popular Music. Bloomington, Indiana: Indiana University Press.
• Koidin, Julie (2011). Os Sorrisos do Choro: Uma Jornada Musical Através de Caminhos Cruzados. São Paulo: Global Choro Music.[2]

Films[link]

• 2005 - Brasileirinho: Grandes Encontros do Choro. Directed by Mika Kaurismäki.

External links[link]

• Chorolê - The Israeli Choro Ensemble
• Abdallah Harati, Brazilian 7 string guitar player
• Dirty Linen Brief History of Choro
• Agenda do Samba & Choro
• All Brazilian Music
• Maria-Brazil - Brazilian Culture on the Web
• ChoroMusic.com Play Along Brazilian Choro
• Pe de Cana, choro trio band from Vancouver-Canada
• Choro das 3, three young sisters' group
• Brazil Essence - Majorca, Spain
• Casa de Choro - Toulouse, France
• Clube do Choro de Torino
• Dois no Choro, Julie Koidin flute and Paulinho Garcia guitar and vocals

Notes[link]

Yamandu Costa - Photo André SZEP

Yamandu Costa (Passo Fundo, January 24, 1980), sometimes misspelled Yamandú, is a Brazilian guitarist and composer. His main instrument is the violão de 7 cordas, the Brazilian seven-stringed nylon guitar.

Yamandu began to study guitar at age seven with his father, Algacir Costa, leader of the group Os Fronteiriços (The Frontiersmen) and mastered the instrument after studying with Lúcio Yanel, an Argentine virtuoso who lived in Brazil. At age fifteen, Yamandu began study Brazilian Southern folk music, Argentina and Uruguay.

Influenced by the music of Radamés Gnattali, he began to study the music of other Brazilians, such as Baden Powell de Aquino, Tom Jobim and Raphael Rabello.

At age seventeen he played in São Paulo for the first time at the Cultural Circuit Bank of Brazil which was produced by the Study Tone Brazil. Yamandu came to be recognized as the musician who revived Brazilian guitar music.

Yamandu's diverse execution styles include styles like chorinho, bossa nova, milonga, tango, samba and chamamé, making him difficult to categorize into a single genre.

Yamandu appeared in Mika Kaurismäki's 2005 documentary film Brasileirinho.

Awards[link]

• Prêmio Tim - Best Soloist - 2004
• Free Jazz Festival 2001 - Rio and São Paulo
• Guitar Festival of Chile - 2001
• Winner of the Prêmio Visa, Instrumental edition - 2001
• Circuito Cultural Banco do Brasil - 1999
• Participation at the Nashville Festival - 1998
• Trophy of Instrumental Music Revelation of the Rio Grande do Sul state
• 25º Award of Best Instrumentalist of the Rio Grande do Sul state
• Show in Montevidéu - 1998
• Tour in Buenos Aires - 1998
• Winner of the Prêmio Califórnia of Uruguaiana - 1995

Discography[link]

• 2008 - Mafuá
• 2007 – Lida
• 2007 – Yamandu + Dominguinhos
• 2007 – Ida e Volta
• 2006 – Tokyo Session
• 2005 – Música do Brasil Vol.I (DVD)
• 2005 – Yamandu Costa ao Vivo (DVD)
• 2005 – Brasileirinho
• 2004 – El Negro Del Blanco / Yamandu Costa e Paulo Moura
• 2003 – Yamandu ao Vivo
• 2001 – Yamandu / Prêmio Visa
• 2000 – Dois Tempos / Lúcio Yanel e Yamandu Costa

External links[link]

• Official website

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (December 2007)

Turibio Soares Santos (born March 7, 1943) is considered one of the best Brazilian guitar players alive.^{[citation needed]}

He established himself with a wide repertoire of pieces by Heitor Villa-Lobos, Ernesto Nazareth, Francisco Mignone, and by accompanying musicians like Clara Sverner, Paulo Moura and Olivia Byington on many CDs.

At the age of 10 he was attracted to the classical guitar, his first teacher being Antonio Rebello and later Oscar Càceres. In 1962 he gave his first recital in Rio de Janeiro, followed by a series of concerts all over Brazil. In the following year the Villa-Lobos Museum invited him to play the Brazilian composer’s “Twelve Studies for Guitar” and “The Mystic Sextet”, given its first public hearing. 1964 marked the formation of a duo with Oscar Càceres and several tours of South America. Turibio Santos decided to establish himself in Europe in 1965, in which year he won the first prize in the O.R.T.F.’s International Guitar Competition in Paris.

His appearances in programmes on the ORTF and the BBC as well as his world première recording on disc of Heitor Villa-Lobos's “Twelve Studies” have made him known to the European public.

Many orchestras have welcomed him as a soloist, such as the Monte-Carlo Philharmonic Orchestra, l’Orchestre Philharmonique de Radio France, the English Chamber Orchestra and the Royal Philharmonic Orchestra. In 1974 he joined Yehudi Menuhin and Mstislav Rostropovich in the opening Concert for the Creation of International Funds for Musical Collaboration organised by UNESCO.

Turibio Santos is Director of the Museu Villa-Lobos in Rio de Janeiro.

External links[link]

• Official website

This article on a Brazilian musician is a stub. You can help Wikipedia by expanding it. v t e

Paraguayan guitarist and composer, Agustin Barrios.

Agustín Pío Barrios (also known as Agustín Barrios Mangoré, May 5, 1885 – August 7, 1944), an eminent Paraguayan guitarist and composer, was born in Misiones, Paraguay and died in San Salvador, El Salvador. It has been generally accepted that the guitarist was born in San Juan Bautista in Misiones, however, there is no definitive proof of this as his baptismal document found in the book of registries in the cathedral in San Juan Bautista does not state his precise place of birth. Also, several biographers and authorities present convincing documented evidence that Barrios was born, instead, in the nearby town of Villa Florida, Misiones, situated on the Tebicuary River some 30 km north of San Juan Bautista.

Early life[link]

When he was a child, Barrios began to develop a love for music and literature, two areas that were very important to his family. Barrios would eventually speak two languages (Spanish and Guarani), and read three more (English, French and German).

Barrios began to show an interest in musical instruments, particularly the guitar, before he reached his teens. He went to Asunción in 1901, at the age of fifteen, to attend a university (Universidad Nacional de Asunción) with a scholarship in music, thus becoming one of the youngest university students in Paraguayan history. Apart from his studies in the college's music department, Barrios was also well appreciated by members of the college's mathematics, journalism and literature departments.

After leaving college, Barrios dedicated his life to music and writing poems. He composed more than 300 songs for which he would first write the lyrics and then the guitar accompaniment^{[citation needed]}. Barrios made several friends during his multiple trips across South America. He was known for giving his friends and fans signed copies of his poems. Because of that, there are several different versions of his poetical works which have surfaced across South America, other areas of Latin America and the United States. Many current collectors warn potential buyers to be careful when they come across a poem reportedly autographed by Barrios.

Career[link]

Barrios was famed for his phenomenal performances, both live and on gramophone recordings — although Barrios is usually credited as the first classical guitarist to make recordings in 1909/10, a myth perpetuated by the guitarist John Williams, the first guitarist to record was the Mexican guitarist Octaviano Yanes performing his "Mexican Dance" (Habanera). The record, Victor 05662, is dated August 25, 1908. Another version of this piece exists on Edison Foreign Series cylinder (catalogue number 20204).^[1][2] For some years, it was Barrios's habit to perform in concert in traditional Paraguayan dress (he was partly of Guarani origin), assuming the persona of Nitsuga Mangoré ('Nitsuga' being Agustín spelled backwards, and 'Mangoré' being the name of a cacique of the South American indigenous group Timbú).

His works were largely late-Romantic in character, despite his having lived well into the twentieth century. Many of them are also adaptations of, or are influenced by, South American and Central American folk music. Very many of them are of a virtuosic nature.

The Bach-inspired La Catedral (1921) is often considered to be his most impressive work, even winning the approval of Andrés Segovia, who said "In 1921 in Buenos Aires, I played at the hall La Argentina noted for its good acoustics for guitar, where Barrios had concertized just weeks before me. He was presented to me by his secretary Elbio Trapani. At my invitation Barrios visited me at the hotel and played for me upon my very own guitar several of his compositions among which the one that really impressed me was a magnificent concert piece The Cathedral whose first movement is an andante, like an introduction and prelude, and a second very virtuosic piece which is ideal for the repertory of any concert guitarist. Barrios had promised to send me immediately a copy of the work (I had ten days remaining before continuing my journey) but I never received a copy."^[3]

Death and legacy[link]

Barrios died and was buried in the Cementerio de Los Ilustres in San Salvador, El Salvador on August 7, 1944.

Barrios is still revered in Paraguay, where he is seen as one of the greatest musicians of all time by many. John Williams has said of Barrios: "As a guitarist/composer, Barrios is the best of the lot, regardless of era. His music is better formed, it's more poetic, it's more everything! And it's more of all those things in a timeless way."^[4]

Folk music[link]

The folk music of Paraguay (including the polca paraguaya and vals) provided the young Barrios with his first introduction to music. In 1898, Barrios was formally introduced to the classical guitar repertoire by Gustavo Sosa Escalada. At that time, Barrios had already composed works for the guitar, and also performed pieces written by his former teacher Alias, such as La Chinita and La Perezosa. Under the influence of his new teacher, Barrios went on to perform and study the works of Tárrega, Vinas, Sor and Aguado. Sosa Escalada was so impressed with his new pupil that he convinced Barrios's parents to let him move to Asunción to continue his education. Having already surpassed the technical and performing abilities of most guitarists, Barrios began seriously to compose around 1905.

Among the folkloric influences, Barrios is known to have played such popular paraguayan works as "Campamento Cerro León", "Londón Carapé", "Guyrá campana", "Mamá Cumandá".^[5] As an example, "Guyrá campana" is very interesting, since some of the material can be heard in parts of Barrios' recording of "Caazapá — Aire Popular Paraguayo"... Though "Guyrá campana" is traditional music, many maintain that it is very closely related to guitarist Carlos Talavera 1 (from Caazapá), whom Barrios knew.^[6][7][8][9] There are various versions of "Guyrá campana" (it is also known as "Pájaro campana") e.g. for Paraguayan Harp (Félix Pérez Cardozo^[9]), etc.; and in some versions, the birdsong imitations can be very clearly heard.^[10]

Composer[link]

Barrios's compositions can be divided into three basic categories: folkloric, imitative and religious. Barrios paid tribute to the music and people of his native land by composing pieces modeled after folk songs from South America and Central America. Imitating the compositional style and techniques of the Baroque and Romantic periods was another side to his craftsmanship. "La Catedral" may be viewed as Barrios' tribute to Bach. It is believed that "La Catedral" was inspired by a religious experience for Barrios; therefore, the piece may also be categorized under religion. Religious beliefs and experiences also played an important role in Barrios' compositional process. Una Limosna por el Amor de Dios (Alms for the Love of God) is another example of a religiously-inspired work. For the contemporary student, the interpretation from Peter LaVine can be found at: http://itunes.apple.com/us/album/peter-lavine-plays-agustin/id526223359 Breaking down the works of Barrios into these three categories helps the guitar enthusiast to understand Barrios's musical intent.

Discography[link]

• Agustin Barrios The Complete Guitar Recordings 1913-1942. This 3 CD set was transferred and digitally remastered from 78rpm gramophone recording from Atlanta, Odeon, Artigas labels and some Barrios' personal home recordings.^[11]
• Augustin Barrios Complete Music for Solo Guitar. This 6-CD-box was released by Brilliant Classics in 2010.
• Le incisioni discografiche di Agustin Barrios

List of works[link]

Agustín Barrios composed more than three hundred pieces in his lifetime. The more outstanding pieces in his repertoire are the following:

• Abrí la Puerta Mi China
• Aconquija (Aire de Quena)
• Aire de Zamba
• Aire Popular Paraguayo
• Aires Andaluces
• Aires Criollos
• Aires Mudéjares (fragment)
• Aire Sureño (fragment)
• Allegro Sinfónico
• Altair
• A Mi Madre-serenata
• Arabescos
• Armonías de América
• Bicho Feo
• Canción de la Hilandera
• Capricho Español
• Choro da Saudade
• Confesión (Confissao de Amor)
• Contemplación
• Córdoba
• Cueca (Danza Chilena)
• Danza en Re Menor
• Danza Guaraní
• Danza Paraguaya no.1
• Danza Paraguaya no.2 'Jha,che valle'
• Danza Paraguaya duet
• Diana Guaraní
• Dinora
• Divagación en Imitación al Violín
• Divagaciones Criollas
• Don Perez Freire
• El Sueño de la Muñequita
• Escala y Preludio
• Estilo Uruguayo
• Estilo
• Estudio de Concierto No.1 in A major
• Estudio de Concierto No.2 in A major
• Estudio del Ligado in A major
• Estudio del Ligado in D minor
• Estudio en Arpegio
• Estudio en Si Menor (solo and duet)
• Estudio en Sol Menor
• Estudio Inconcluso
• Estudio No. 3
• Estudio No. 6
• Estudio Para Ambas Manos
• Estudio Vals
• Fabiniana
• Gavota al Estilo Antiguo
• Habanera
• Humoresque
• Invocación a Mi Madre
• Jha, Che Valle
• Julia Florida(barcarola)
• Junto a tu Corazón
• Jota
• La Bananita (tango)
• La Catedral: Preludio - Andante - Allegro
• La Samaritana
• Las Abejas
• Leyenda de España
• Leyenda Guarani
• London Carapé
• Luz Mala
• Mabelita
• Madrecita
• Madrigal Gavota
• Maxixe
• Mazurka Apasionata
• Medallón Antiguo
• Milonga
• Minuet in A major
• Minuet in A major
• Minuet in B major
• Minuet in C major
• Minuet in C minor
• Minuet in E major
• Oración (Oración de la Tarde)
• Oración por Todos
• Pepita
• Pericón in F
• Pericón in G
• Preludio Op. 5, No. 1
• Preludio in E major
• Preludio in A minor
• Preludio in C major
• Preludio in C minor
• Preludio in D minor
• Preludio in E minor
• Romanza en Imitación al Violoncello (Página d¹ Album, Fuegos Fátuos)
• Sargento Cabral
• Sarita
• Serenata Morisca
• Tango No. 1
• Tango No. 2
• Tarantella (Recuerdos de Nápoles)
• Tua Imagem
• Una Limosna por el Amor de Dios(Also known as "El ultimo trémolo" or "El último canto")
• Un Sueño en la Floresta (Souvenir d¹un Reve)
• Vals de Primavera
• Vals Op. 8, No. 1
• Vals Op. 8, No. 2
• Vals Op. 8, No. 3
• Vals Op. 8, No. 4
• Vals Tropical
• Variaciones sobre un Tema de Tárrega
• Variaciones sobre el Punto Guanacasteco
• Vidalita con variaciones in A minor
• Vidalita in D minor
• Villancico de Navidad
• Zapateado Caribe (trio)

He also wrote a couple poems:

• Mi Guitarra
• El Bohemio

Complete works : Zen On, Editions Castelle

Instruments[link]

While in Paraguay, Barrios had access only to instruments of limited quality. However, soon after his arrival in Buenos Aires in 1910, he was exposed to, and played the finest instruments of his time for the remainder of his career. Normally Barrios traveled with 2 guitars, and had several modified with the addition of a 20th fret. He is documented by photograph to have played the instruments of Spanish makers Jose Ramirez I, Enrique Garcia, Fransisco Simplicio, Enrique Sanfeliu, Domingo Esteso and Ricardo Sanchis Nacher, Brazilian maker DiGiorgio, and in print by Uruguayan maker Rodolfo Camacho.

Bibliography[link]

• El Inalcanzable Agustín Barrios Mangoré (289 pages, 2007) by Carlos Salcedo Centurion. (Centro Cultural de la República, El Cabildo, ref)
• Six Silver Moonbeams: The Life and Times of Agustin Barrios Mangoré, Richard D. Stover (GSP, 210)
• Mangoré: Vida y Obra de Agustín Barrios, Sila Godoy, Luis Szarán, Editorial Don Bosco/ Ñanduti Vive. Asunción, Paraguay.
• Dos almas musicales: Agustín Pío Barrios y José del Rosario Diarte, Nicolás T. Riveros, Asunción, Paraguay

References[link]

External links[link]

• Agustín Pío Barrios. Archivo Paraguayo de la Música Centro Cultural de la República - El Cabildo, Asunción, Paraguay (Spanish)

Biography[link]

• Le incisioni discografiche di Agustin Barrios, di Mario Serio (Italian)
• Barrios Agustín (Mangoré) Diccionario de la Música en el Paraguay, by Luis Szarán (Spanish)
• Pagina Cultural del Paraguay: Breve Recordación a Mangoré. Agustín Pío Barrios (www.musicaparaguaya.org.py) (Spanish)
• Agustín Barrios Mangoré: The Folkloric, Imitative, and the Religious Influence Behind His Compositions, a review essay by Johnna Jeong
• Bacón Duarte Prado; prólogo de Alberto Nogués. Agustín Barrios, un genio insular. Editorial Araverá, Asunción del Paraguay (1985) (Spanish)

Other[link]

• Guitar of Barrios
• Agustin Barrios International Guitar Competition (Nuoro, Italy)
• Free scores by Agustín Barrios in the Werner Icking Music Archive (WIMA)
• Free scores by Agustín Barrios at the International Music Score Library Project

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Jacob do Bandolim (December 14, 1918^[1] – August 13, 1969^[1]) was a Brazilian composer and musician. Born Jacob Pick Bittencourt from a Jewish mother and Brazilian father in Rio de Janeiro,^[1] his stage name means "Mandolin Jacob", after the instrument he played.

A perfectionist, Jacob was able to achieve from his band Época de Ouro the highest levels of quality. Jacob hated the stereotype of the "dishevelled, drunk folk musician" and required commitment and impeccable dress from his musicians who, like himself, all held "day jobs". Jacob worked as a pharmacist, insurance salesman, street vendor, and finally notary public, to support himself while also working "full time" as a musician.

In addition to his virtuoso playing, he is famous for his many choro compositions, which range from the lyrical melodies of "Noites Cariocas" ("Carioca Nights") and "Doce de Coco" to the aggressively jazzy "Assanhado", which is reminiscent of bebop. He also researched and attempted to preserve the older choro tradition, as well as that of other Brazilian music styles. He died of a heart attack, when coming back from spending the day with Pixinguinha, planning a recording project to benefit his friend.

Jacob had 2 mandolins, which he called "number one" and "number two". After his death they were kept in storage until 2002, when they received minor restoration. Now under the care of Instituto Jacob do Bandolim, they have been used in a few recordings again.

References[link]

1. ^ ^{a b c} Johnson, Dexter; Grisman, Pamela (1991). "About Jacob". Mandolin Master of Brazil: Original Classic Recordings, Vol. I (CD liner). Jacob do Bandolim. San Rafael, California: Acoustic Disc. 

External links[link]

• Instituto Jacob do Bandolim - the best resource for biography, music, and pictures (including the only known film - a 35 second TV interview). This site is in Portuguese.

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