Alfredo da Rocha Viana Filho, known as Pixinguinha (; April 23, 1897February 17, 1973) was a Brazilian composer, arranger, flautist and saxophonist born in Rio de Janeiro. Pixinguinha is an important Brazilian composer of popular music, particularly within the genre of music known as choro. By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre. He was also one of the first Brazilian musicians and composers to take advantage of radio broadcasting technology and studio recording. Pixinguinha composed dozens of choros, including some of the best-known works in the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero". Early life and early career Pixinguinha was the son of musician Alfredo da Rocha Viana, a flautist who maintained a large collection of older choro scores and hosted frequent musical gatherings at his home. Pixinguinha learned to play the flute at home but soon became a pupil of Irineu de Almeida, composing his first piece at age 14 and making his first recording at age 16. In 1912 he began to perform in cabarets and revues in the Rio de Janeiro neighborhood of Lapa. He then became the flutist in the house orchestra at the Cine Rio Branco movie theater (silent films at that time were often accompanied by live music). In 1914 he joined with his friends João Pernambuco and Donga to form the group Caxangá, a group which gained considerable attention before it disbanded in 1919. Os Oito Batutas Five years later in 1919, Pixinguinha, along with his brother China, Donga, João Pernambuco, and other prominent musicians, formed the musical group (). The instrumental lineup was at first fairly traditional, dominated by a rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves. Their repertoire was diverse, encompassing folk music from northeast Brasil, sambas, maxixes, waltzes, polkas, and "brazilian tangos" (the term choro was not yet established as a genre). The group appealed especially to the nationalistic desires of upper-class Brazilians who yearned for a homegrown, uniquely Brazilian musical tradition free from foreign influences. Os Oito Batutas became a sensation across