The first thing that comes to mind when you hear the term Brazilian Music is Samba. And I don’t blame you for it! With tantalizing rhythms and gorgeous dancers, the sounds and images of Samba are burnt into our psyche.
But hang on a moment, what if I told you there is an even more alluring form? And that is the genre, Choro. It probably is not as well-known or popular as the Samba, but it has more of an alluring factor. Subjective? Maybe, but if I had to get into the heads of everyone reading this blog, this piece would have never been written. I don’t mean to be disrespectful to my readers, but I am sure all of you get my drift.
Brazilian music, synonymous with the vibrant beats of Samba and the melancholy strains of Bossa Nova, also finds resonance in a lesser-known but deeply rooted genre: Choro. An intriguing blend of African rhythms, European harmonies, and indigenous forms, Choro is a musical tradition enriching Brazil’s soundscape for over a century.
Originating in the mid-19th century in Rio de Janeiro, Choro emerged from the cultural melting pot that was Brazil post-abolition. European immigrants brought classical forms and instruments – primarily flutes, guitars, and the Portuguese cavaquinho, a small stringed instrument similar to a ukulele. The rich rhythmic legacy of Africa passed down through the freed slaves was incorporated into this instrumental blend, giving birth to a uniquely Brazilian sound.
Choro, literally translating to ‘cry’ or ‘lament’ in Portuguese, may seem a misnomer for this lively music. But it reflects the genre’s emotional depth, which conveys melancholy, joy, nostalgia, and jubilation. It embodies “Saudade,” a Portuguese term capturing the complex feelings of longing, loss, and love.
Traditional Choro is characterized by its complex structure, intricate melodies, and improvisation, making it the ‘jazz of Brazil.’ It’s typically performed by a ‘roda de choro’ (choro circle) featuring soloists who play the melody and improvise on small stringed instruments. At the same time, the rhythm is maintained by a seven-string guitar and light percussion, such as the pandeiro (Brazilian tambourine).
Instrumental prowess is an essential aspect of Choro. Musicians like Pixinguinha, Jacob do Bandolim, and Waldir Azevedo has been instrumental (pun intended) in elevating Choro to a revered art form. Pixinguinha, in particular, is celebrated as one of Brazil’s greatest composers, a virtuoso flutist and saxophonist who enriched Choro with Afro-Brazilian elements and jazz-like improvisations.
Over the decades, Choro has evolved while retaining its core elements. It has incorporated modern instruments, expanded its repertoire, and ventured beyond Brazil’s borders. Today, it’s common to hear Choro performing at music festivals worldwide, from Paris to Tokyo, resonating with audiences who may not understand Portuguese but connect deeply with the universal language of music.
In recent years, a new generation of musicians has taken up the mantle of Choro, infusing it with elements from other musical genres and ensuring its continuing relevance in a rapidly globalizing world. Artists like Yamandu Costa and Hamilton de Holanda are demonstrating the versatility and vibrancy of Choro to a new audience, blending tradition with innovation.
In conclusion, Choro is a testament to the power of cultural synthesis, a genre that celebrates diversity and unity in each rhythmic pulse. It’s a ‘cry’ that dances, a ‘lament’ that rejoices, embodying the paradoxes and profundities of the Brazilian spirit. Choro is not just a genre; it’s a dialogue between past, present, and future, a musical narrative of Brazil that continues to evolve and enchant.
From the lively Rodas de Choro on the streets of Rio to international concert halls, the pulsating rhythm of Choro invites us to partake in a journey of emotional and cultural exploration. The Choro plays on as the world tunes in, speaking in notes and rhythms, whispering tales of rich history, and promising a vibrant future.
Nalla Madras 