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Hittade detta dock (Översatt med http://babelfish.altavista.com så det kan vara fel i den portugisiska översättningen)

Agustín Mangoré Casks (1885-1944)
The Paraguayan violonista the highest point had the deepest consideration for the art of Pernambuco, with that it touched repeats frequently in duo in the store the Cavaquinho de Ouro. When Casks left definitively Brazil, it composed its celebrity I cry of the Homesickness to homage the beloved friend and Pernambuco colleague.
http://en.wikipedia.org/wiki/Agust%C3%ADn_Barrios

(Villa-Wolf är ju såklart Villa-Lobos då lobo är varg på portugisiska)

Heitor Villa-Wolf (1887-1959)
Villa-Wolf, that knew of close Pernambuco since youth, had for the pernambucano Chorão a marked admiration, to the point to pronounce celebrates it phrase: “Bach would not be envergonharia in signing the violonísticos studies [] of Pernambuco João as being its”. However, when in 1934 Villa-Wolf it wanted to help the old friend in dificultade giving a job to it in its Supervision of Musical and Artistic Education, of which he was onipotente managing, did not offer a work to it as professor of violão, but yes as Continuous. Moreover Villa-Wolf assook itself tacitly of many musical ideas of most original of Pernambuco, ideas that meet skillfully later reelaboradas in its violonísticas compositions, and it left after all it to die without making nothing to preserve its workmanship, that thus for the most part was embedded with its author.
http://www.museuvillalobos.org.br/mvl1.htm

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João Teixeira Guimarães was born in Jatobá, pernambucano hinterland, in 02/11/1883 and faleceu in Rio De Janeiro em16/10/1947.
With a change of clothes, its violão and many dreams, disembarked João, to the twenty years of age, in then the capital one of the Republic. It worked as blacksmith in days of up to sixteen daily hours. The little time that remained to it was dedicated to the violão. For its friends and admirers, in always increasing number, it counted and it sang things of its land, from there the nickname of Pernambuco João.
Already in 1908 he was considered one of bambas of Choro, to the side of names as Quincas Laranjeiras, Ernani Figueiredo, Zé Cavaquinho and Satiro Billiards. Parallel to Choro, it developed its work in the regional songs through compositions its and of violeiros and cantadores northeasterns. Pernambuco João also sang and sang well. In the ropes, beyond the violão that manejava with maestria and in which developed one peculiar technique, he was skillful in the viola. He more than composed one hundred musics between choros, waltzes, jongos, maxixes, emboladas, toadas, coconuts, preludes and studies. Its known compositions more are Luar of the Hinterland (partnership with Catulo of the Pertaining to the state of Ceará Passion) and Sounds of Carillons.
It is the workmanship of this great man, great in stature (1,84 m) and character and that it brings in its nickname the commitment with its people that we will now go to focus. This workmanship possesss two well distinct sources: the violonística and sertaneja.
The Sertaneja Song was consolidated from the popular acceptance of the toada Caboca de Caxangá, of Pernambuco João and Catulo of the Pertaining to the state of Ceará Passion and the importance that had the participation of Pernambuco João presenting folclóricas songs in the Cycle of You discuss on Folclóricos Subjects organized for Alfonso Arinos de Frank and carried through Mello in São Paulo in 18/12/1915.
Pernambuco João organized groups whose integrant they used typical suits and they adopted names of famous cantadores northeasterns as p.ex: Group Caxangá, Troupe Sertaneja and Trio Viriato Leather strap Storni/Pernambuco. It also participated, between 1919 and 1922, of the set Eight Batons that later fame when journeying for the Europe would reach. Before this Arnaldo Guinle it financed an excursion of this set for the interior of the states of Rio De Janeiro, Minas Gerais and São Paulo and to the Northeast, with intention to collect folclórico material. The presence of João, already recognized as authority in the subject, was of basic importance in this taken over on a contract basis.
Thanks to it influences of Pernambuco João, had come to Rio De Janeiro in the decade of the twenty of the last century sets Turunas Pernambucanos, Turunas of the Mauricéia and the Voice of the Hinterland. With these sets they had come wonderful musicians who had reached great projection this way, as it was the case of Luperce Miranda, Augustus Calheiros, Jararaca and Ratinho. The blind person Manoel de Lima and Jaime Florence, more known as Meira. The success of these groups finished for influencing groups formed in the River as the Flock of the Tangarás (Integrated for Pink Noel, Admiral and João of Adobe amongst others), and in São Paulo mainly, where from 1927 sertaneja lived the song its apogee, that would last up to 1935. The São Paulo Turunas São Paulo, Batons, the Green-Yellow Set, the Chorões Sertanejos, the Colbaz Orchestra and the Sexteto Bertorino had appeared then Soul.
You interpret them more representative of this phase had been Paraguassú, Raul Towers, Jaime Redondo, Januário de Oliveira, Stefana de Macedo and Elsie Houston-Péret.
A generation of musicians of the highest level integrated these groups as Gaó, Alberto Marino, Atílio Granny, Zezinho of the Banjo (that it would be known later as Carioca Zé), Jonas Aragão, Jose Sampaio, Aymoré, Nestor Amaral and Garoto.
As repayment to that as much made for the spreading of this music, it was exactly in São Paulo that Pernambuco João recorded the part most expressive (in quality and amount) of its workmanship in both sources. In these writings it was folloied with extreme ability for Zezinho (Carioca Zé) and had in Stefana de Macedo an gracious interpreter of its musics.
Santíssima trindade of the precursors of the Brazilian violão is constituted by Quincas Laranjeiras, João Pernambuco and Levino Albano of the Conceição and the violonística workmanship of João was of such density and depth that it thus Villa-Wolf if revealed: “… Bach would not be envergonharia in signing the studies of Pernambuco João as being its… ”. The famous musicólogo Mozart de Araújo did not make for less: “ Pernambuco João is for the violão as well as Nazareth Ernest is for the Piano ”. It prays the legend that the Agustín notable Casks in one of its comings to Rio De Janeiro was touched it seeing João to touch and dedicated its to it I cry of the Homesickness.
The edition in partitions of some musics of Pernambuco João, through the effort of the great violonista Turíbio Saints, finished for awaking the interest of many violonistas on this workmanship. In little time, these parts would be obligator in the violonístico repertoire. Important in the spreading of this workmanship they had been the works “ Caio Cesar interprets Pernambuco João, vol 1 ”; “ Pernambuco João, the Poet of the Violão ” and “ Discovering Pernambuco João ”, these two last ones which had the Leandro Oak. For occasion of the centenarian of João, the Funarte produced a LP with Antonio Adolph and the Knot in Dagua Nugget, a biography “ Pernambuco-Art João of a People ” of Jose de Souza Leal and Arthur Barbosa Luiz and a notebook of musics with arrangements of Maurício Carrilho and Antonio Adolph.
Pernambuco João possuía many friends, as Quincas, Patrician Teixeira, Rogério Guimarães, Zé Cavaquinho, Levino Albano, Aymoré, Seting Snows, Donga and Pixinguinha, Meira, Luperce Miranda, Admiral, Villa-Wolf, Dilermando Kings, at last, one list interminable! But if he does not have to forget the importance that João had in the artistic formation of a genius of our called music Pixinguinha. Friends since 1912, Donga, Pixinguinha (this with fourteen years) and João liveed in a republic in the street of Riachuelo 268. He was of there that he has left in the carnivals the Caxangá Group and was also at this time that had produced Wise person, the Three Friends and I am coming back. They had been together of 1914 up to 1919 in the Caxangá and of 1919 up to 1922 in the Eight Batons, that in this phase were a set predominantly sertanejo.
Of 1928 up to 1935 Pernambuco João liveed in the large house of the Av. Mem de Sá 81, where a republic that sheltered, in its majority functioned, the musicians and football players. There João organized livened up and concurred wheels of I cry that they counted on the participation of Donga, Pixinguinha, Teixeira Patrician, Rogério Guimarães and, 0ccasionally, Villa-Wolf.
It was also in this place that João knew, for intermediary of its friend Levino, one then young promising e violonista Dilermando call Kings.
Pernambuco João was reverenciado by great violonistas as Boy, Baden Powell, Paulinho Walnut, Rafael Rabello and nowadays its musics are executed by violonistas of some nationalities.
This is João Pernambuco, the Poet of the Violão!