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vagcbeato34 — 8 de Novembro de 2009 — Canção do Alentejo e Anihas
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Eu não sei que tenho em Évora
Que de Évora me estou lembrando
Quando chego ao rio Tejo
As ondas me vão levando
Abalei do Alentejo
Olhei para trás chorando
Alentejo da minh'alma
Tão longe me vais ficando
Ceifeira que andas à calma
Ai, e à calma ceifando o trigo
Ceifa as penas da minh'alma
Ceifa-as leva-as contigo
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vagcbeato34 — 3 de Março de 2010 — Canção:Avril au Porugal- Pinturas:Pablo Picasso
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Raúl Ferrão (1890-1953) did not fully witness the success of his song; certainly, he did not foresee the wide popularity and propagandistic use that the initially neglected piece would enjoy in Europe, and around the world. The melody, conceived in the late 1930's, was repeatedly rejected in revista theaters for which Raúl Ferrão (and José Galhardo as well) produced great musical achievements. It only reached a wider public by 1947, in Armando Miranda's movie Capas Negras, where a lovestruck student sang Coimbra as a serenade. Still, the movie's version did not fare particularly well. Three more years would pass before the song reached full-blown success, in the voice of Amália Rodrigues. This happened in the international context of post-war cultural and economic recovery. According to Amália herself, who always liked the Coimbra, the decisive moment came in 1950 during a tour promoted by the U.S.-led Marshall plan for the reconstruction of Europe. One day, in Dublin, Yvette Giraud asked Amália to sing a few songs of her particular liking – with the prospect of producing one or more French adaptations. Amália sang Coimbra and Lisboa Não Sejas Francesa ('Lisbon do not be French') also by Raúl Ferrão, which were part of her orchestra repertoire. Thus appeared, through the choice and the voice of Yvette Giraud,
Avril au Portugal, with lyrics by Jacques Larue..
Je vais vous raconter ce qu'il m'est arrivé
Sous un ciel où l'été s'attarde
Histoire d'amoureux, voyage aventureux
Que pour les jours heureux je garde
Un grand navire à quai, la foule débarquait
Les yeux sous les bouquets regardent
L'amour devait rôder on s'est regardé
Et mon cœur s'est mis à chanter
Avril au Portugal, à deux c'est l'idéal
Là-bas si l'on est fou le ciel l'est plus que vous
Pour un sentimental, l'amour existe-t-il
Ailleurs qu'au Portugal en Avril
Le soir sous mes yeux clos, je vogue au fil de l'eau
Je vois par les hublots, la ville
Les vagues et des couleurs, de doux parfums de fleurs
Qui font de bateleur la ville
Qui fendait comme il faut un verre d'eau dans l'air
Ou les regrets d'ailleurs nous suivent
L'amour devait savoir quand le suivant le soir
Que j'aimerais un jour le revoir
Avril au Portugal, à deux c'est l'idéal
Là-bas si l'on est fou le ciel l'est plus que vous
Pour un sentimental, l'amour existe-t-il
Ailleurs qu'au Portugal en Avril.Yvette Giraud's performances in Paris and London conquered public and musicians alike. Later on, through the work of Amália and many other singers, musicians, composers, and directors, the song would reach an impressively large audience all over the world. The CD Coimbra illustrates the historic and stylistic trajectory of the song. This compilation presents, for the first time, a broad and comprehensive selection of versions of the song. Vocal stiles range from Louis Armstrong's impressively free and intimate interpretation (accompanied by his trumpet) to the spectacular and much applauded version of the Antigos Orfeonistas de Coimbra choir. Along one also finds the voices of Amália Rodrigues, Alberto Ribeiro, Yvette Giraud, Bing Crosby, Caetano Veloso, Eartha Kitt, the guitar of Chet Atkins, the piano of Liberace, and the orchestra of Bert Kaempfert and Xavier Cugat among others. The variety extends to the languages spoken, the musical languages, and even the sound producing materials – from the bronze of the bells in Mafra's carillon, to the steel of the Caribbean steel drums played by children in England.
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Coimbra / Avril au Portugal / April in Portugal / Abril em Portugal is a global phenomenon of popularity. It is a case of successful propaganda backed up by a wise harmonic structure and a brilliantly conceived melody. The opening melodic phrase of Coimbra – with no more than six notes – has survived more than sixty years of music. Despite the changing times the tune remains recognizable and catchy enough to warrant its appearance in a variety of circles. Take, for example, the news article from November 11, 2002, on The Richard Nixon Library & Birthplace webpage: "Over 1,000 admirers of piano legend Roger Williams enjoyed his wide-ranging musical stylings (É) as he set a new world record, playing for 13 hours and five minutes (É). Between medleys the tireless showman recounted Presidential anecdotes, telling the crowd about President Nixon's love of music and the piano. Mr. Williams also revealed that First Lady Pat Nixon always requested April in Portugal." In another example, in April 2001 a French website listed greatest hits of the French song, highlighting Jacques Larue's poem for Avril au Portugal displayed over an image of blooming trees.
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Coimbra began as a reference to a city, student life, love, and longing. Later, it became a national banner and an ad for the seductive delights of Portugal in April. Finally, it turned into a melodic motto – adopted by several peoples for various aims. As it happens, the motto still refers to Portugal but has long gotten beyond its reach. The CD Coimbra tells the story of a song that transcended its boundaries and intended function. Crafted and publicized as a Portuguese song, it fit other musical traditions so well that it came to represent quite accurately, truthfully even, the musical style of many and disparate interpreters.
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http://www.cdroots.com/tradisom-coimbra.html
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