Composer of a huge selection of valses, maracatus, mayçõha sido, sambas-canção, serenatas, modinhas, choros, baiõha sido, polkas, marching musics, public, operettas, musics for movie theater and movie theater, and especially frevos, Capiba is a tale from the northeast and certainly the main author of this area. At eight, Capiba had been playing the horn and reading music. Boy from the conductor Severino Atanásio de Sousa Barbosa, Capiba, like his 12 siblings, performed in his father’s music group. Working out was serious and extenuating. Often moving from city to town, often playing, the family members resolved in Campina Grande (Em fun??o deíba) where Capiba, at 16, was compelled by his dad to replacement for Capiba’s youngest sister, Josefa, being a pianist, since she would marry as well as the tight moral habits at that time impeded her from carrying on to be always a professional. Conquering his organic aversion towards the device, he shortly became proficient more than enough to try out competently on the cinema also to take the positioning opened up in the Jazz Music group Campinense, led by his sibling Tantão. At exactly the same time, Capiba continuing to spend himself to soccer, his aged passion. And in addition by that point came his 1st essential concert, associated the Italian tenor Brillantini at a gala night time in the Mayoralty. However in 1924, Capiba’s father decided that Capiba should give up music and soccer also to head to João Pessoa (Em virtude deíba) to review; the next 12 months, he had been playing in the Cine Rio Branco (piano) with the América (soccer). In 1926, his tune “Mulher Sem Coração” shook from the city’s roads through the Carnaval; another season was the switch of “European union Sou Doido Por Você”; in 1928, “Quem Tem Amor Tem Ciúmes”; and in 1929, “Aluga-se Um Coração.” For the reason that period he shaped his own music group, Jazz Independência, and earned a competition using the tango “Flor das Ingratas,” which also experienced appreciable recognition. In 1930, Capiba came back to Campina Grande, currently independent economically, which offered him the chance of dedicating himself to music against his father’s will. Influenced by his earlier success inside a competition, he found that the satiric publication O Malho as well as the exclusive Casa Edison (Odeon) had been promoting a competition of marches and sambas for the Carnival of 1930. Taking part in the competition along with his samba “Não Quero Mais” (lyrics by João dos Santos Coelho), authorized beneath the pseudonyms Pé de Pato/Joca da Beleza (as requested from the contest’s organizers), the track won 4th place and was documented by Francisco Alves before they understood about any of it. The reward was given towards the first person who requested it, as well as the track remained credited towards the pseudonyms. In the same 12 months, Capiba relocated to Recife to just work at the Banco perform Brasil, where he’d retire from years afterwards. On November 11, 1931, Capiba’s brand-new music group, the Jazz Music group Acadêmica, opened up at a graduating ball, that he had created a tune that might be often appreciated: the “Valsa Verde” (with Ferreira dos Santos). The orchestra (which Capiba was the pianist and conductor) became successful. They were also invited to try out in various other neighboring expresses (Pará, Ceará, Rio Grande perform Norte, Maranhão). In 1932, his maracatu “É de Tororó” (with Ascenso Ferreira) became successful and was contained in a revue by Jardel Jércolis that toured Brazil, Spain, and Portugal. In 1933, performed with the Jazz Music group Acadêmica in Rio, the tune became a carnival strike. For the reason that period, Carmen Miranda was to record Capiba’s frevo “Tenho Uma Coisa Em fun??o de Lhe Dizer” but needed to interrupt the effort because of her time of year in Argentina. Capiba’s 1st frevo filled with lyrics, “É De Amargar,” was created in 1934 like a tribute to his sibling Sebastião, a clarinetist who passed away precociously at 39. Instantly effective in Recife, it received the competition promoted from the Diário de Pernambuco, was launched in Alda Garrido’s repertory, and, becoming documented by Mário Reis, accomplished nationwide recognition. It had been the start of Capiba’s nationwide career like a author of carnival music. In the same 12 months, Capiba remaining the Acadêmica, because of inner disagreements. The music group continued to can be found until 1965, while Capiba got the direction from the Bando Acadêmico perform Recife. The music group went therefore well that it had been discontinued by Capiba — after a laudatory paper review that brought bitter words by competition. But Capiba continuing to compose also to enjoy, and his frevo-canção “Manda Essa Tristeza Embora” was documented by Araci de Almeida, his “Vou Cair no Frevo” by Almirante, and his frevo-canção “Tenho Uma Coisa Em fun??o de Lhe Dizer” by Leda Baltar, all in 1935. In 1938 he concluded his rules studies and got “Júlia” documented by Francisco Alves and “Casinha Pequenina” by Carlos Galhardo. Within the next season, Ciro Monteiro documented “Quero Essa” and “Gosto De Te Ver Cantando” and, in 1941, “Linda Flor da Madrugada.” “Maria Betânia,” his biggest strike, was documented by Nelson Gonçalves in 1944, attaining nationwide achievement (the homonymous vocalist was christened following this track under biblical affects). The track continues to be re-recorded a lot more than ten occasions since that time. Capiba also positively participated in the Teatro de Estudantes de Pernambuco (founded by Ariano Suassuna and Hermilo Borba Filho), composing music because of its takes on. In 1949, Capiba became close friends with the essential traditional composer Guerra-Peixe, having also analyzed with him. Under this motivation, Capiba wrote many classical parts (concerts, trio, and collection). His concert for flute was performed by Esteban Estter in Brazil, Uruguay, Chile, Argentina, and France. In 1950, Capiba composed the “Maracatu Elefante,” afterwards documented in France. He also acquired success when placing music to poetry, like in “A Mesma Rosa Amarela” (1960), poem by Carlos Penna Filho, that was documented by Maysa and became included in the bossa nova repertory. In 1963 he place music to Vinícius de Moraes’ “Soneto da Fidelidade.” Capiba proclaimed his presence on the historical festivals aswell, along with his “Canção perform Negro Amor” (with Ariano Suassuna) in the 4th place on the I FIC (International Tune Festival), also having “Canção perform Amor Que Não Vem” and “Festa de Cores” place. “São Perform Norte Operating-system Que Vêm” (also with Suassuna) received the 5th place and a platinum medal in the II FIC. His involvement in the Armorial Movement from the 1970s yielded, along with a number of important items, the mass “A Grande Missa Armorial.” He continuing to compose frevos for the Carnival in Recife (completing 40 consecutive many years of involvement), and, in the Carnival of 1997, he was paid tribute for the reason that city.