Freire Júnior

Author of the initial modinha to open up the genre to systematic saving, “Luar de Paquetá” (recorded by Baiano), Freire Júnior also wrote and enacted 172 music takes on, including operettas, burlettas, as well as others, possibly becoming the largest writer of Brazilian music revues. He had written a lot more than 125 tracks, included in this the tango-fado “À Beira-Mar” (lyrics by Hermes Fontes, 1922), the samba carnavalesco “Ai, Cabocla Bonita” (1922), “Ai, Seu Mé” (with Careca, achievement from the Carnival of 1922), and many more. His tracks were documented by a number of the great performers of his period, like Vicente Celestino, Francisco Alves, and Baiano. Júnior evidenced abilities for well-known music when he was still a kid. He studied just a little piano and performed by hearing. At 14, he had written his first tracks. He started after that to rehearse small businesses of amateur stars, where he released his structure “O Primo da Califórnia,” playing the piano himself. The audition was went to by Chiquinha Gonzaga herself, who prompted him to go after music being a profession. Freire Júnior after that got conductor Agnelo França (teacher from the Escola Nacional de Música) as instructor. Júnior continued to create ratings for amateur businesses, with Joraci Camargo debuting as an professional, still being a boy, in another of them. In 1908, he graduated being a dental practitioner and became a member of the Justice section, where he’d stay until his pension. In 1913, his “Choro perform Malaquias” was documented with the Grupo perform Malaquias, through Odeon. In 1915, Eduardo das Neves documented his “Jongo dos Pretos” and in 1916, the Banda Odeon documented his polca “Ai, Ai, Vidinha.” In 1917, he debuted being a composer for a specialist movie theater, writing the rating for the revue Tudo Dança (Alvarenga Fonseca/J. Miranda). 2 yrs afterwards, Júnior debuted as an writer using the burletta Flor perform Mal, composing the music aswell. He then offered several burlettas, usually with success, specifically those released from the Alda Garrido organization. “Ai, Amor,” created for the revue Reco Reco (Carlos Bittencourt/Cardoso de Meneses), was a big strike in the 1921 Carnival. In the same 12 months, he published the marchinha “Ai, Seu Mé” (as well as Luís Nunes Sampaio, the Careca). The tune satirized the republic chief executive Artur Bernardes and was authorized by Freire Júnior beneath the pseudonym Canalha da Rua. Actually after that he was caught several times, being taken up to the solitary confinement. That didn’t avoid the track from becoming probably the most sung in the Carnival of 1922, attaining remarkable success. Along with his friend Hermes Fontes (who published the lyrics), Júnior made up probably one of the most effective modinhas of the time, one that broke in the documenting business, “Luar de Paquetá,” starting the way for most others which will be systematically documented after that. “À Beira-Mar” (with Hermes Fontes) was documented by Vicente Celestino in 1922. Within the next 12 months, his “Não Olhe Assim,” extracted from his revue Luar de Paquetá, was documented by Baiano, with achievement. In 1926, Júnior became the movie director from the documenting organization Odeon and was for some reason in charge of the starting of Francisco Alves, who’s 1919 starting at the favorite business went completely undetected. His modinha “Malandrinha” was documented in 1927 by Pedro Celestino, but attained real success within the next season, in Francisco Alves’ documenting. In 1928, he previously strikes with “Samba de Verdade” (documented by Francisco Alves) as well as the canção “Santa” (documented by Vicente Celestino). In 1929, he previously success using the politics march “Seu Julinho Vem,” documented by Francisco Alves, who also experienced strikes with Freire Júnior’s modinha “Deusa” (1931) as well as the canção “Pálida Morena” (1933). From 1934 to 1939, Júnior became impresario in the Teatro Recreio. In 1936, he required the direction from the comic movie theater from the Pascoal Segreto Business. He later aimed others, like Beatriz Costa’s, Oscarito’s, and Ferreira da Silva’s. In 1944, he became the creation director of the business Valter Pinto, that he produced many very effective revues; European union Quero Sassaricá, that was the top container workplace of 1951, breaking information of permanence and yielding the Golden Medal of Creation to Freire Júnior, should get mention.