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Viriato Figueira Da Silva

Viriato Figueira da Silva is among the fathers of choro, a means of using, or style, that was already defined around 1875, evolving until it constituted a genre, after 1900. da Silva also was the author of the polkas “Só Pra Moer” (documented in 1901 with the well-known flutist Patápio Silva), “Macia” (focused on the renowned abolitionist politician, his friend José perform Patrocínio), “É Segredo,” “Caiu! Não Disse?,” the quadrilha “Lucinda,” as well as the melody “Carolina.” “Só Pra Moer” received lyrics with the well-known poet Catulo da Paixão Cearense, getting referred to as “Não Vê-La Mais.” da Silva examined on the Imperial Music Conservatory of Rio de Janeiro with Joaquim Calado. A virtuoso flutist, da Silva toured the north with great achievement, some years following the world’s most significant flutist of these situations, Andre Mateus Reichert, acquired performed in the same capitals. In 1886 he became a member of the Orquestra Dramática perform Teatro Fênix (Rio de Janeiro), that was executed by Henrique Alves de Mesquita. The Orquestra performed a successful period in São Paulo on the Teatro São José. The actual fact that he was among the first to hire the saxophone in well-known music in Brazil, playing choros, is normally of main importance since when Pixinguinha followed the device in 1920, he was accused to be “Americanized.” “Só Em fun??o de Moer” acquired the initial publication in 1877 with the Casa José Maria Alves da Rocha. The polka “Carnaval perform Brasil” was provided on the Clube Mozart on July 15, 1878. In March 20, 1880, da Silva disputed with Duque Estrada Meyer, the seat of flute on the Imperial Conservatório de Música, opened up with the demise of Joaquim Calado, who was simply his closest friend; however the Emperor D. Pedro II nominated Meyer. da Silva passed away from tuberculosis at 3:30 a.m., Apr 24, 1883. He was buried on the Cemitério São Francisco Xavier, but his close friends, knowing from the shared desire of both close friends to be buried hand and hand, noticed a concert in Dec 17, 1883, increasing funds to get two additional graves in the same cemetery where Calado (who was simply resting in the Cemitério São João Batista) and da Silva had been buried.

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