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2530Booklet.Pdf ENGLISH P. 2 PORTUGUÊS P. 9 DEUTSCH S. 17 INTRODUCTION All towns have places of ‘cult’ – a monument, a square, a river. There The work presented here speaks of this. Musicians of many types of music is also a song – the Canção de Coimbra (Song of Coimbra) – that belongs fulfil a ritual repeated a thousand times – that of singing the Canção de to Coimbra but also belongs everywhere else. The guilty party is D. Dinis, Coimbra with the correct sounds, which is the voice, the guitar and the King of Portugal, who one day in March 1290 decided to sign the Scientiae guitarra portuguesa – the usual sounds in this type of fado – but also the thesaurus mirabilis, a decree which founded the University of Coimbra. It is piano, double bass and trumpet – which due to the fact that they are new not known whether it was due to his love of knowledge or whether it was and vital, are also presented here. Some may say that ‘according to tradition’ inspired by his being a troubadour, a master of words both of love and satire. these sounds do not belong here. D. Dinis does not agree. He believes that tradition only became so when musicians from all over – including those It is however certain that the seed planted there by this king found fertile present right now! – have decided to add melodies and sounds to the words soil, grew and produced rich fruits. that he knew how to write, of love and other human realities. And this is the Some may say that the fruit of a University is its professors – and this is present and the future. not denied. But it is more correct to say that the fruits of this university are of various qualities: there are the professors in their specific branches Manuel Rocha of knowledge; there are the people around it who look for a livelihood (Musicologist and director at the Music Conservatory of Coimbra) and pay to bring it to life; and there is the life that enters and exits, communicates and laughs, eats, drinks, cries, loves… and sings. These are the young students and it is common for young people to sing. Coming from diverse areas, they sing northern “modas”, southern songs, island “charambas” and now, in this common ground that belongs to them all, they will compose songs of youth in the ‘homeland’ of their life in this rich community. It was here, they composed hymns – those of the Canção de Coimbra. 2 The RICARDO DIAS ENSEMBLE renovates and re-invents the Fado / Canção de José Afonso and Adriano Correia de Oliveira are both modernisers of the fado Coimbra (Fado/Song of Coimbra), with their roots in the Coimbra Fado and / Canção de Coimbra. Artur Paredes, Carlos Paredes and Rui Pato, stellar the students’ ballads. They try out new sounds to elevate the poetic and musicians and instrumentalists are icons. musical themes that characterise the Coimbra fado. The ensemble soloists come from different musical genres and have different musical experiences. In 1290 King D. Dinis created the first Portuguese university in Coimbra, There are the two musicians with the same name, Ricardo J. Dias (piano, one of the oldest universities in the world. This university is a centre of accordion) and Ricardo Dias (Coimbra guitar); Bernardo Moreira (bass); Ni knowledge and culture for the most cultured and cosmopolitan young Ferreirinha (classical guitar) and José Vilhena (vocals), each contributing to people. Music, poetry, dance and theatre are all to be found in the Royal the innovative style of their live performances and recordings. Palace and in the streets of the town, engendering constant innovation. The Canção de Coimbra developed in this bustling cultural environment, fuelled Times have changed. Musicians are no longer limited to the restraints of by successive generation of young students who brought their regional tradition. The pianist and composer, Ricardo J. Dias is Cristina Branco’s traditions, knowledge, musical instruments and a desire to innovate. musical director and was musical director to Brigada Victor Jara. He has produced several CDs which were awarded the José Afonso Prize. That is the purpose of the “Ricardo Dias Ensemble” which combines the Ricardo Dias, the Coimbra guitar player, revitalizes the Coimbra guitar and experience and maturity of its musicians with the irreverence and creativity tirelessly promotes tradition. Bernardo Moreira comes from the European of the city of Coimbra. jazz scene and contributes his vast experience of innovative national and Domingos Morais international projects. Ni Ferreirinha is a key figure in the development (musicologist, ethnologist and critic) and promotion of Coimbra fado and the Canção de Coimbra. José Vilhena is a singer who embodies the finest fado / Canção de Coimbra tradition. 3 4 1. SAUDADES DE COIMBRA 3. TENHO BARCOS, TENHO REMOS (Lyrics: António de Sousa / Music: Mário F. Fonseca / Arr.: Ricardo J. Dias) (Lyrics: trad. / Music: José Afonso / Origin: Faro 1962) António de Sousa (1898-1981), poet and songwriter, author of many (“I have boats, I have oars”) The boat referred to belonged to a small “Canções de Coimbra”, was born in Oporto but lived in Coimbra for many fellowship set up by Manuel Pité, António Barahona, António Bronze and José years. He took his law degree at the Universidade de Coimbra, having Afonso. The events experienced by the four, in perfect communion with the previously attended Lisbon University’s Faculty of Law like Edmundo de sea in the Algarve, originated a kind of fraternal circle and represented one Bettencourt did. After marrying the painter Alice Toufreloz Brito de Sousa, of the most blissful periods in the songwriter’s life. [Source: Jorge Rino] he moved to Lisbon in the late 1940s. In Coimbra, his academic life was very intense. Poetry and the winds of modernism engaged him deeply. As a José Vilhena: vocals Ricardo J. Dias: piano law student, he showed his rare sensibility as a poet, when he wrote poetry Bernardo Moreira: double bass “as pure and clear as water”. Some of it was even recorded and sung by the great singers of the so-called first “golden age” of the “Canção de Coimbra”. [Source: Octávio Azevedo] 4. VERDES ANOS / CANTO DO AMANHECER (instrumental) (Music: Carlos Paredes) José Vilhena: vocals Carlos Paredes’ undisputed creative genius, his simplicity, his dedication Ricardo J. Dias: piano and his open spirit always stayed with him in his work. At the beginning Ricardo Dias: Portuguese guitar Bernardo Moreira: double bass of the 1960s he was asked by the film director Paulo Rocha to compose Ni Ferreirinha: acoustic guitar music for one of the first movies in the “New Cinema” movement, entitled “Verdes Anos” (Green Years). Little did we know that he would write one of the purest works in the history of Portuguese music. “Verdes Anos” is one of those rare and sublime compositions whose spirit and intensity were able 2. SEDE E MORTE (instrumental) to connect and influence many generations and different artistic genres. (Music: Carlos Paredes) (“Many young people came from other places to try their luck in Lisbon. I found great human interest in this and it inspired many of my pieces. These people “Em Memória de Uma Camponesa Assassinada” and “Sede e Morte”, two were completely marginalised, household staff or shop assistants. They pieces from the single “Balada de Coimbra” by Carlos Paredes, released in were the people I sympathised with, for their simplicity.” – C. Paredes) This 1971. They were never included on an LP. piece will remain in history as an authentic anthem to Portuguese culture, [Source: anossaradio] which so dignifies the Portuguese people. Ricardo J. Dias: accordion Ricardo Dias: Portuguese guitar Ricardo Dias: Portuguese guitar Ricardo J. Dias: accordion Bernardo Moreira: double bass Bernardo Moreira: double bass Ni Ferreirinha: acoustic guitar Ni Ferreirinha: acoustic guitar João Moreira: trumpet 5 5. OLHOS CLAROS Ricardo J. Dias: accordion (Lyrics: Edmundo Bettencourt / Music: Mário F. Fonseca / Arr.: Ricardo J. Dias) Ricardo Dias: Portuguese guitar Bernardo Moreira: double bass A ballad recorded in the 1960s by Adriano Correia de Oliveira and José Ni Ferreirinha: acoustic guitar Afonso. It is a love poem inspired by the eyes of a lover. [Source: AJA.pt] 8. HOMEM SÓ, MEU IRMÃO Nuno Silva: vocals (Lyrics: Luiz Goes / Arr.: Ricardo J. Dias) Ricardo J. Dias: piano Ricardo Dias: Portuguese guitar Luiz Fernando de Sousa Pires de Goes (1933 – 2012), was a Portuguese Bernardo Moreira: double bass singer, poet and composer. He was born in Coimbra and was one of the main Ni Ferreirinha: acoustic guitar exponents of the ‘Canção de Coimbra’. He is one of the Portuguese artists with the greatest international success. 6. BALADA DE OUTONO (Music & Lyrics: José Afonso) Luiz Goes started singing at a very early age, influenced by his uncle Armando Goes, a widely known name in the Canção Coimbrã genre. At the This is the first original composition by José Afonso. As he told us, he age of fourteen he already performed publicly. started calling his first songs ballads, not because he knew the meaning of the word but to distinguish them from the so-called “Fado de Coimbra”, While still a teenager he was accompanied by Carlos Paredes, one of the which he had started to sing during his time at the D. João III School in biggest names in Portuguese guitar. At nineteen he recorded his first record. the late 1940s. José Afonso wrote the composition but needed a title. It His high school classmates included José Afonso and António Portugal, appears that at first he thought of calling it “Balada do Rio (Mondego)” with whom he recorded many albums. His biggest influence however was (Balad of the River Mondego).
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