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Donga was a central amount in the samba custom. The individual who initial documented a composition using the denomination samba (“Pelo Telefone” in 1916 [not really 1917 as generally noted]), Donga was also an achieved musician using a observed international profession in Pixinguinha’s Operating-system Oito Batutas and many other groupings. Also a keeper from the custom, his testimonies about the folklore from the past due 19th and early 20th decades are extremely essential and elucidative as essential sources for research workers; among other activities, he managed to get known which the samba was created in the town, not really in the hillsides. Donga, who also agreed upon as Ernesto dos Santos, was the kid of Pedro Joaquim Maria, a baritone horn participant and mason by job who utilized to play within a ternos (a typically early choro trio made up of saxophone, trumpet, and baritone horn) using the essential Candinho perform Trombone and Amélia Silvana de Araújo, who was simply Tia Amélia, the popular baiana (female from Bahia) who advertised celebrations (sambas) in Rio and in addition utilized to sing modinhas. The sambas had been kept in each tia’s (aunt’s) home, and these reunions had been central in the introduction of the samba as well as the transformation from the samba from a folkloric manifestation to a industrial genre. As an energetic participant from the sambas kept at his years as a child home, which occasionally had been prolonged for eight continuous times, Donga became a specialist in the various varieties of samba, each one featuring its personal peculiar choreography. When he was about 4 or 5, he visited a samba at Tia Sadata’s house, where pioneers made a decision to provide their Bahian custom of ranchos (Carnival-esque groupings). There currently was at that time another group with rancho features, the Sereia, whose people had been of Northeast origins (Bahia, Sergipe, and Alagoas). However the Dois de Ouro — the ranch shaped by Tia Amélia, Tia Sadata, Hilário Jovino Ferreira, João Câncio, Quarenta, yet others — became the initial accurate rancho of Rio, founded in 1893. Still a kid, Donga mastered the various choreography found in the sambas and in the Carnaval. He discovered these through his close connection with previous slaves and Bahian blacks, executing the jobs of porta-machado, palhaço, rei perform diabo, velho, mestre-sala, and learning the dance and music of macumba, candombé, afoxê, jongo, yet others. At 14, Donga used the cavaquinho, learning informally with renowned get better at Mário perform Cavaquinho, who created the five-string cavaquinho and his 14-string zebróide. In 1907, Donga turned towards the violão (Brazilian classical guitar), learning with Quincas Laranjeiras and learning to be a significant participant in the favorite style, having created quite skilled baixarias. The modinhas “Olhar de Santa,” afterwards documented by Carlos Vasques, and “Teus Olhos Dizem Tudo,” which afterwards received lyrics by David Nasser, had been Donga’s initial compositions. A frequenter from the houses from the tias, including Tia Ciata’s (or Aciata, as Donga utilized to contact her), where he utilized to meet up fundamental music artists like Pixinguinha, João da Baiana, Caninha, Sinhô, Didi, Gracinda, Buci Moreira, as well as others, Donga experienced the chance of taking part in the rodas, that have been songs created through collective improvisation. Using one of these events at Tia Ciata’s home on August 6, 1916, using the involvement of Donga, Germano Lopes da Silva, Hilário Jovino Ferreira, João da Mata, Sinhô, and Tia Ciata herself, arrived a samba de terreiro with solid maxixe influences discussing the gaming persecution by the authorities. The samba’s refrain have been compiled by João da Mata on Santo Antônio’s hill, and other areas had been later on added, including folkloric phrases. The samba experienced great achievement in Tia Ciata’s home, and was sung for a number of consecutive nights. It’s possible that Donga, along with his industrial skill and above-average cleverness, offered the tune to the initial recording business of Brazil, Fred Figner’s Casa Edison. The tune was documented in Dec 1916, concurrently by Baiano and by the Banda da Casa Edison through Odeon information. The record’s label referred to the song name, “Pelo Telefone”; its genre, samba; and its own authorship, Donga and Mauro de Almeida. The sheet music was signed up, as all tracks had been, in the Country wide Library on November 27, 1916, as samba Carnavalesco. Instantly, other individuals in the historical night stated their involvement in the tune, which will be the guts of a number of different diatribes concerning not merely its authorship, but also its genre (samba or maxixe), the annals behind its lyrics, as well as the affirmation that “Pelo Telefone” will be the 1st documented samba (because it is not obvious that this tune is usually a samba). But what’s incontestable is usually that until “Pelo Telefone,” the Carnaval experienced no particular music. The documenting of “Pelo Telefone” incited composers to create tunes for Carnaval, adding to the solidification from the samba like a genre in following years. In 1919, Donga became the violonista (classical guitar participant) for the Oito Batutas, an organization structured around Pixinguinha, among the geniuses of Brazilian well-known music. Donga, who was simply using Pixinguinha since years as a child, also became a central shape in the group because of his industrial skills, being thought to be the employer by other people. Donga was certainly fundamental in the Parisian stint with the Oito Batutas, as the sponsor from the expedition, millionaire Arnaldo Guinle, got previously encumbered Donga, Pixinguinha, and João Pernambuco using the objective of collecting Northeastern folklore for the reason that area, but financial conversations got torn apart the partnership between your tycoon as well as the music artists. Donga was in charge of the reconciliation between Pixinguinha and Guinle. The Oito Batutas started their profession playing in the going to room from the advanced Movie theater Palais (Rio), and, in 1922, departed for any six-month time of year in Paris, France (where all users adopted jazz devices, with Donga selecting the banjo). Upon their introduction back, they participated in the historical self-reliance centennial, when the air was inaugurated in Brazil. This is accompanied by an Argentinean tour, a nation where in fact the group documented many albums for RCA-Victor and dissolved. Donga after that joined up with the Carlito Jazz as well as the band begun to accompany the French revue firm Bataclan, later getting incorporated for the reason that firm and exploring with these to France. Time for Rio in 1928, he produced the Orquestra Típica Pixinguinha-Donga with Pixinguinha, a dance music orchestra who produced many albums through Parlophon (Odeon). In 1932, playing cavaquinho, banjo, and violão, he performed in the organizations Guarda Velha and Diabos perform Céu, both created by Pixinguinha and both documenting for Victor. In the same 12 months he married vocalist Zaira de Oliveira, who pass away in 1952. Donga wedded again another 12 months. In 1940, he participated in the historical documenting supervised by Leopold Stokowski in Brazil, having nine of his compositions authorized on both Columbia albums entitled Local Brazilian Music. In 1954, Almirante propelled the forming of the Grupo da Velha Guarda, and Donga performed and documented with this group until 1958, having also performed in single displays like O Samba Nasce no Coração in the Casablanca nightclub (Rio). A retired bailiff, his only individual LP arrived in 1974 through Marcus Pereira.

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