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Quincas Laranjeiras

An important number of the next generation of Brazilians who took the violão like a solo instrument, Quincas Laranjeiras was the teacher of eminent music artists who carry the torch even more: the blind Levino da Conceição, José Rabelo, and João Pernambuco. A eulogy released in O Violão journal (1929) described him as the “grandfather of the present day violão.” Arriving at Rio along with his family members at half a year old, he was affected by his dad, who was simply a well-known violeiro (ten-string Brazilian-viola participant) and a carpenter by occupation. At 11, Laranjeiras visited just work at the Fábrica de Tecidos Aliança, in the Quincas borough of Rio, therefore his nickname. There is a music group in the manufacturing plant, conducted by teacher João Elias, Laranjeiras’ 1st music teacher. Taking on the flute, he quickly showed uncommon skill, teaching the less-advanced college students. Affected by his sibling who was simply learning the violão (Brazilian classical guitar), Laranjeiras also used that instrument, quickly learning to be a requested accompanist of modinhas. A frequenter from the popular Rabeca de Ouro music shop/lutherie (later on Cavaquinho de Ouro), where in fact the popular chorões fulfilled, Laranjeiras joined up with their group: Anacleto de Medeiros, Luís Gonzaga da Hora, Irineu de Almeida, Juca Kalut, Mac pcário, José Cavaquinho, Villa-Lobos, while others. With many others, he created the Estudantina Arcas, where he trained violão, and became prominent like a violonista in the Estudantina Euterpe Orchestra. An adherent of traditional guitar, he trained in the Tarrega college, being an essential proponent of Tarrega’s technique in Brazil. In 1889, Laranjeiras became a municipal worker, retiring with honors in 1925. His compositions consist of “Prelúdio Em Ré Menor” and “Valsa Em virtude de Violão,” while his most well-known piece was the sentimental waltz “Dores D’alma.” He was also a dynamic harmonizer (for violão) of Brazilian melodies, posting these functions in O Violão journal.

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