Biography
Eduardo Souto earned recognition both for penning numerous successes and for his skill as an orchestrator and conductor, yet his place in history rests equally on his role as a transitional figure. Emblematic of Brazil’s pre–Cultural Industry era, he saw radio curtail the peak of his career. Alongside Sinhô, he helped crystallize the marchinha de carnaval genre two decades after Chiquinha Gonzaga’s landmark “Ô Abre Alas.” His publishing house issued many of the era’s key works, and he was the first to employ Carnival blocos as a promotional vehicle for his songs—an approach later eclipsed by radio.
Born into affluence, Souto began piano lessons at six. He moved to Rio de Janeiro at eleven and studied with Carlos Darbilly. By fourteen he had composed his initial valse, “Amorosa,” and in 1906 he led the amateur ensemble at Éden’s Club in his first public appearance as conductor. He acquired a publishing firm on Rua do Ouvidor in 1917. Fame arrived in 1919 with the fado-tango “O Despertar da Montanha,” followed the same year by “Seu Delfim Tem Que Vortá,” written with Norberto Bittencourt. The 1920 opening of the Casa Carlos Gomes music store cemented his standing in the artistic community. He founded the Coral Brasileiro, whose members included Bidu Saião, Nascimento Silva, and Zaíra de Oliveira, and assembled orchestras that performed at the Brazilian receptions for the Belgian monarchs that year. As artistic director for Odeon and Parlophon, he presented symphonic concerts in Rio and São Paulo. His marchinha “Pois Não,” created with João da Praia, joined Sinhô’s “O Pé de Anjo” in establishing the genre’s enduring Carnival format twenty years after “Ô Abre Alas.” The piece dominated the 1920 Carnival and appeared in the revue Gato, Baeta, Carapicu by Cardoso de Meneses, Bento Moçurunga, and Bernardino Vivas. The following year his chula “Pemberê,” again with João da Praia, became a hit in Baiano’s recording. In 1922 he collaborated with Cornélio Pires during the Independence centennial celebrations and scored success with the marchinha “Eu Só Quero É Beliscar.” In 1923 he lampooned President Nilo Peçanha in “Só Teu Amor” and “Goiabada,” while his greatest Carnival triumph, “Tatu Subiu No Pau,” appeared that season; he also inaugurated his own promotional bloco, named after the song. Subsequent releases included “Não Sei Dizê” and “Pai Adão” in 1924 and “Quando Me Lembro” (with João da Praia) in 1925. He supplied the score for the 1926 revue Ziguezague, written with conductor Antônio Lago from an original by Bastos Tigre. Two 1929 marchinhas concerning President Washington Luís—“É, Sim, Senhor” and “Seu Doutor”—were recorded by Francisco Alves for Odeon. His final Carnival successes were the 1931 marcha “Batucada,” composed with João de Barro and recorded by Mário Reis, and the 1932 marcha “Gegê,” written with Getúlio Marinho and recorded by Jaime Vogeler. Souto also authored the anthem of Botafogo Futebol Clube of Rio. Following his death, his son, pianist Nelson Souto, issued an LP of his father’s Carnival marches in 1958.
Born into affluence, Souto began piano lessons at six. He moved to Rio de Janeiro at eleven and studied with Carlos Darbilly. By fourteen he had composed his initial valse, “Amorosa,” and in 1906 he led the amateur ensemble at Éden’s Club in his first public appearance as conductor. He acquired a publishing firm on Rua do Ouvidor in 1917. Fame arrived in 1919 with the fado-tango “O Despertar da Montanha,” followed the same year by “Seu Delfim Tem Que Vortá,” written with Norberto Bittencourt. The 1920 opening of the Casa Carlos Gomes music store cemented his standing in the artistic community. He founded the Coral Brasileiro, whose members included Bidu Saião, Nascimento Silva, and Zaíra de Oliveira, and assembled orchestras that performed at the Brazilian receptions for the Belgian monarchs that year. As artistic director for Odeon and Parlophon, he presented symphonic concerts in Rio and São Paulo. His marchinha “Pois Não,” created with João da Praia, joined Sinhô’s “O Pé de Anjo” in establishing the genre’s enduring Carnival format twenty years after “Ô Abre Alas.” The piece dominated the 1920 Carnival and appeared in the revue Gato, Baeta, Carapicu by Cardoso de Meneses, Bento Moçurunga, and Bernardino Vivas. The following year his chula “Pemberê,” again with João da Praia, became a hit in Baiano’s recording. In 1922 he collaborated with Cornélio Pires during the Independence centennial celebrations and scored success with the marchinha “Eu Só Quero É Beliscar.” In 1923 he lampooned President Nilo Peçanha in “Só Teu Amor” and “Goiabada,” while his greatest Carnival triumph, “Tatu Subiu No Pau,” appeared that season; he also inaugurated his own promotional bloco, named after the song. Subsequent releases included “Não Sei Dizê” and “Pai Adão” in 1924 and “Quando Me Lembro” (with João da Praia) in 1925. He supplied the score for the 1926 revue Ziguezague, written with conductor Antônio Lago from an original by Bastos Tigre. Two 1929 marchinhas concerning President Washington Luís—“É, Sim, Senhor” and “Seu Doutor”—were recorded by Francisco Alves for Odeon. His final Carnival successes were the 1931 marcha “Batucada,” composed with João de Barro and recorded by Mário Reis, and the 1932 marcha “Gegê,” written with Getúlio Marinho and recorded by Jaime Vogeler. Souto also authored the anthem of Botafogo Futebol Clube of Rio. Following his death, his son, pianist Nelson Souto, issued an LP of his father’s Carnival marches in 1958.