Jorge Tuna – Coimbra á Noite (50s)

frontcover1This is a very rare 4 track sinlge from Portugal with a special from of the legendary Fado musicbecause Fado music from Coimbra …

.. is a subgenre of Fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado (Fado de Estudante), it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares additional roots with Occitan troubadors.
Performed with the traditional Guitarra de Coimbra (a kind of Portuguese guitar originating in Coimbra), a modified version of Lisbon’s fado guitar allegedly created by Artur Paredes, it is usually accompanied by classic acoustic guitar and male voices.(by rateyourmusic.com).

Whoever came up with the expression “one does not listen to Fado, one feels Fado” must have spent a great deal of his/her life in Coimbra, as in my opinion Coimbra Fado is the only Fado inPortugal which truly deserves and embodies this expression

This single was recorded by Jorge Tuna (Jorge Manuel Casqueiro Lopo Tuna ) and two other musicians.

Jorge Tuna (born 1937) is a very popular guitarplayer in Portugal and I guess, this was his first single, recorded during the Fifties.

Enjoy and discover the wonderful world of Fade !

jorgetuna01

Jorge Tuna + Durval Moreirinhas

Personnel:
Jorge Godino (guitar)
Durval Moreirinhas (viola)
Jürge Tunas (guitar)

backcover1

Tracklist:
01. Rapsódia de Cancoes (Traditional) 2.53
02. Variacoes em si Menor (Tuna) 2.29
03. Rapsódia de Fados (Traditional) 3.32
04. Variacoes em la Maior (Tuna) 2.49

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Another fine piece of music, recorded live by  Jorge Tuna and Durval Moreirinhas

 

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Madredeus – Existir (1990)

FrontCover1

And here´s another album from the great music scene of Portugal … an unbelieveable beautiful album:

Madredeus (Portuguese pronunciation: [maðɾɨˈðewʃ]) is a Portuguese musical ensemble. Their music combines traditional Portuguese music (which is sometimes erroneously associated with the subgenre of Fado) with influences of modern folk music. The lyrics are often melancholy, related to the sea or travelling or absence, continuing a tradition of songs dating back to Medieval times (with obvious connection to cantigas de amigo among others).

Madredeus founding members were Pedro Ayres Magalhães (classical guitar), Rodrigo Leão (keyboard synthesizer), Francisco Ribeiro (cello), Gabriel Gomes (accordion) and Teresa Salgueiro (vocals). Magalhães and Leão formed the band in 1985, Ribeiro and Gomes joined in 1986. In search of a female singer, they found Teresa Salgueiro in one of Lisbon’s night clubs. Teresa agreed to join and, in 1987, Madredeus recorded their first album, Os dias da Madredeus.

Madredeus01The first album was recorded in their rehearsal space, a converted abbey in Lisbon. The recording was especially strenuous due to deafening interruptions every 5 minutes from Lisbon’s tram service, which ran directly above. In honour of this unavoidable presence in their every performance, they named themselves after the surrounding neighborhood, Madre de Deus (Mother of God), shortened to the vernacular Madredeus.

In 1993, Pedro Ayres Magalhães left the band temporarily and was replaced in live concerts by José Peixoto (classical guitar). Magalhães rejoined the group later, making it a sextet with two guitarists.

Madredeus02They released several albums and became very popular in Portugal, but remained relatively unknown abroad. This changed in 1994 when Wim Wenders, impressed by their music, asked Madredeus to perform in his movie Lisbon Story – the soundtrack gave the band international fame. Madredeus consequently toured Europe, South America, Africa and Asia.

In 1994, Rodrigo Leão left the band to start a solo career, being replaced by Carlos Maria Trindade (keyboard synthesizer).

Madredeus03In 1997, Francisco Ribeiro and Gabriel Gomes left the band as Madredeus’ style started abandoning its fado roots with the release of O Paraíso. At this time Fernando Júdice (Acoustic bass guitar) was invited to join them. The group would, again, be a quintet. Madredeus has sold over 3 million albums worldwide.

In 1998, Madredeus contributed “Os Dias São A Noite (Suso Saiz Remix)” to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.

In November 2007, Teresa Salgueiro announced she had left Madredeus and she has released six solo albums until now.

Madredeus04Former member and co-founder Francisco Ribeiro released his first solo album Desiderata: A Junção do Bem in 2009. He died on 14 September 2010 from cancer.

In April 2012 Madredeus announced its new album Essencia. This album is a travel through Madredeus music for 25 years since it was formed. Madredeus announced too its new formation, composed of Beatriz Nunes (singer), Pedro Ayres de Magalhães (guitar), Carlos Maria Trinidade (synthesizer), Jorge Varrecoso (violin), Antonio Figueirido (violin) and Luis Clode (cello). With this new formation Pedro Ayres said in an interview: “The melody is much more supported, without losing harmonic and rhythmic sense and keeps walking Madredeus”.

Existir (translated from Portuguese; means “To exist”), was the second full-length studio disc from Portuguese band Madredeus. The album, unlike their first, was recorded in a studio rather than below a tram railway. The music maintains the same sextet format as its predecessor; the classical guitars, the keyboards, the accordion, the cello, and vocalist Teresa Salgueiro; yet it finds them forming a bond between their original music and Portuguese folk, together with the atmosphere created by the use of keyboards & synthesizers. The festive/traditional “O Pastor (The Shepherd)” became a national hit. (by wikipedia)

More Madredeus albums will be presented in this blog in the next weeks !

Madredeus05

Personnel:
Gabriel Gomes (accordion)
Rodrigo Leão (keyboards)
Pedro Ayres Magalhães (guitar)
José Peixoto (guitar)
Francisco Ribeiro (violin, cello)
Teresa Salgueiro (vocals)

Booklet1

Tracklist:
01. Matinal (vocals) (Ribeiro) 3.24
02. O Pastor (Magalhães) 3.42
03. O Navio (Magalhães) 3.36
04. Tardes de Bolonha (Leão) 3.05
05. O Ladráo (Gomes/Leão/Magalhães/Peixoto/Ribeiro/Salgueiro) 2.50
06. Confissao (Magalhães) 2.48
07. O Pomar das Laranjeiras (Magalhães) 4.20
08. Cuidado (Gomes/Leão/Magalhães/Peixoto/Ribeiro/Salgueiro) 4.12
09. As Ilhas Dos Acores (Gomes/Leão/Magalhães/Peixoto/Ribeiro/Salgueiro) 5.04
10. O Menino (Traditional/Ribeiro) 3.56
11. Solsticio (Gomes/Leão/Magalhães/Peixoto/Ribeiro/Salgueiro) 4.14
12. A Vontade de Mudar (Leão/Magalhães/Ribeiro) 2.19

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Júlio Resende – Amália (2013)

FrontCover1Júlio Resende
Musician, pianist and Portuguese Composer, born in Faro:

One of the most significant forces in the new generation of Fado and Jazz musicians in Portugal Júlio Resende started playing at age four. Resende had a Classical background, but soon he found out he was not satisfied to play compositions he could not improvise over.

Júlio participated in several workshops where he worked with the best masters of the New School for Jazz and Contemporary Music, Berklee College of Music, and Bill Evans Academy, Hot Clube during his stay in Université Paris – VIII.

In 2006, he completes his Philosophy studies at the Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. He currently teaches Jazz Piano at the Universidade de Aveiro for their Master’s degree in Jazz Music.

The intense and very relevant path through the universe of jazz led him to think improvisation about other musical genres. He arrives to Fado, where he crosses tradition with modernity and launches, from his piano, a new look about the Portuguese song. (taken from his website)

JulioResendeIn this voiceless Fado concert, the piano takes centre stage, with Júlio Resende invoking all the pain that Amália sings about. He began playing piano at the age of 4, studying at the conservatory in Faro, and developing a fondness for jazz. After recording three albums playing in a quartet or trio, he released his first solo album. In 2013, Valentim de Carvalho released Amália por Júlio Resende, where he sings the Fado with his piano and which he describes as the most personal solo album possible. Its very beautiful result is transferred in its entirety to his live performances.(by culturgest.pt)

This is one of the best piano albums I ever heard !

Booklet04APersonnel:
Julio Resende
+
Amália Rodrigues (vocals on 11.)

Booklet05A

Tracklist:
01. Fado Português (Régio/Oulman) 4.30
02. Vou Dar De Beber À Dor (Janes) 4.33
03. Tudo Isto É Fado (Nazaré/de Carvalho) 7.44
04. Foi Deus (Janes) 4.36
05. Estranha Forma De Vida (Rodrigues/Duarte) 4.51
06. Uma Casa Portuguesa (Ferreira/Sequeira/Fonseca) 3.57
07. Barco Negro (Piratini) 6.33
08. Gaivota (O´Neill/Oulman) 4.35
09. Ai Mouraria (dos Santos/Valério) 3.29
10. Amêndoa Amarga (dos Santos/Valério) 7.10
11. Medo (Ferreira/Oulman) 4.23

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VA – Fado de Coimbra – Volume 1 (2011)

FrontCover1Coimbra Fado (Portuguese: Fado de Coimbra) is a genre of fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado (Fado de Estudante), it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares additional roots with Occitan troubadors.

Performed with the traditional Guitarra de Coimbra (a kind of Portuguese guitar originating in Coimbra), a modified version of Lisbon’s fado guitar allegedly created by Artur Paredes, it is usually accompanied by classic acoustic guitar and male voices.

Guitarists Artur Paredes and his son Carlos Paredes are considered the pioneers and masters of this musical genre. Among its most renowned singers were Edmundo Bettencourt and António Menano, in the 1930s and 40s, and José Afonso, Adriano Correia de Oliveira, Luís Goes and João Maria Tudela, in the 1950s and 60s, the two so called “golden ages” of the genre.

UniversityOfCoimbraThe University of Coimbra

The Coimbra Academic Association (Associação Académica de Coimbra) has a fado section, teaching the genre to musically inclined students and promoting musical projects and events related to it. Its fame throughout Portugal has led to the creation of similar structures in other cities, such as Lisbon and Porto, where there are also Fado de Coimbra groups organized by students and local people. (by wikipedia)

LiveAtTheFadoCentroCoimbra_August2015Live at the FadoCentro, Coimbra (August2015)

And this is a very nice sampler: In this collection we present you traditional Fados of Coimbra, performed by artists of “Arts Centre FADO AO CENTRO. The musicians have a vast experience in this musical style and represent several generations of Fado of Coimbra.

PortugeseGuitarThe Portugese Guitar

Personnel:

The singers:
João Farinha – Gonçalo Mendes – António Dinis – Rui Seoane – Rui Moreira

Guitar + portuges guitar:
Miguel Drago – Luis Carlos – Luis Barroso

Booklet1Tracklist:
01. João Farinha: Coimbra (Ferrao/Galhardo) 3.17
02. Gonçalo Mendes: Samaritana (Cabral) 3.47
03. António Dinis: Fado Dos Olhos Claros (da Fonseca/Bettencourt) 2.42
04. Rui Seoane: Guitarrras do Meu País (Portugal/Alegre) 3.52
05. Rui Moreira: Balada do Encantamento (Silva) 2.40
06. João Farinha: Solitário (Menano) 3.30
07. Gonçalo Mendes: Passarinho da Ribeira /Menano/Traditional) 2.59
08. António Dinis: O Meu Menino (Rezende/Traditional) 3.14
09. João Farinha: Fado Corrido de Coimbra (Traditional) 2.48
10. Rui Moreira: Contos Velhinhos (Araujo) 3.13
11. João Farinha: Fado Hilário (Hilario) 3.01
12. Rui Seoane: Não Olhes para Os Meus Olhos /Baptista/Traditional) 3.01
13. João Farinha: Fado Manassés (de Lacerda) 3.31
14. Gonçalo Mendes: Maria Se Fores Ao Baile (Araujo) 3.07
15. João Farinha: Balada da Despedida do VI Ano Médico 1958 (Soares) 4.16

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Carlos Paredes – Guitarra Portuguesa (1967)

FrontCover1Carlos Paredes (February 16, 1925 – July 23, 2004) was a virtuoso Portuguese guitar player and composer, born in Coimbra, son of the equally famous Artur Paredes. He is credited with being responsible for popularising the Portuguese Guitar.

Carlos Paredes began playing Portuguese guitar at the age of four and started his music career at the age of eleven. He performed with many other artists including Charlie Haden and also wrote compositions for Fado singer Amália Rodrigues. He wrote a number of film scores and received particular recognition for the 1961 film Verdes Anos (“Tender Years”). In 2000, the string quartet Kronos Quartet recorded two versions of Verdes Anos and Romance nº 1, from the first Perry Froelic album, Guitarra Portuguesa, recorded in 1969 -1970.

CarlosParedesDuring the 1950s and 1960s, being member of the Portuguese Communist Party, he was imprisoned for opposing the Portuguese dictatorship, some of this time spent in solitary confinement. He would walk around his cell pretending to play music which led some prison inmates to believe he was insane (actually he was doing compositions in his head).

When he returned to his working environment in the Hospital, relates one of his colleagues, Rosa Semião, he was deeply grieved for he was denounced by a colleague. “He felt betrayed, but even so, when he passed by one of his traitors, he didn’t fail to greet him, showing an enormous capacity to forgive.” When the political captives were released, they were hailed like heroes. He has always refused this heroic status, attributed by the people of Portugal. He never said much about his time in prison, except that “Many people have suffered worse than I.”

“When I die, my guitar also dies.
My father used to say that, when he died, he would like that his guitar would be broken and buried with him.
I would like to do the same. If I have to die.” (Carlos Paredes)

CarlosParedes2Carlos Paredes had appeared on soundtrack recordings over the previous decade and was a not a new name to the Portuguese, but his take on the Portuguese guitar was a revelation when his debut appeared in 1967. (by dragcity)

The old-fashioned crystalline beauty of this instrument made Carlos Paredes an overnight sensation. (by Myles Boisen)

“His awesome technique never led him away from the essential balance of intense emotion and poetically expressive intellect at the heart of fado. Guitarra Portuguesa is a deep and astounding masterpiece of string music, revealing an articulate and powerful flow of melodic and rhythmic variation.” — Kevin MacNeil Brown, Dusted Magazine

Guitarist Carlos Paredes comes from a long line of masters of the Portuguese guitar, a 12-string cousin of the modern instrument. The New York Times praised this album’s “emotional weight,” saying that in Paredes’ hands, the guitar “becomes a concert instrument; his piercing top notes, dazzling runs and buzzing chords set speed records even as he breaks your heart.”

In other words: this is a masterpiece !

CarlosParedes3Personnel:
Carlos Paredes (guitar)
+
Fernando Alvin (guitar, viola)

Booklet04ATracklist:
01. Variações Em Ré Maior 2.42
02. Porto Santo 2.18
03. Fantasia 2.42
04. Melodia Nº 2 1.53
05. Dança 2.26
06. Canção Verdes Anos (Do Filme ‘Os Verdes Anos’) 3.04
07. Divertimento 3.03
08. Romance Nº 1 3.35
09. Romance Nº 2 3.29
10. Pantomima 3.08
11. Melodia Nº 1 2.54

Music composed by Carlos Paredes

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Various Artists – The Story Of Fado (2012)

FrontCover1Back from Portugal and i´m not only impressed about the history of this country, but I´m very impressed about the folk music of this country: Fado !

Fado is a national treasure and is a worldwide musical symbol of Portuguese culture and tradition. This melancholic genre, which translates to ‘fate’ in Latin, reveals the passion in the Portuguese disposition and evokes a despairing belief in a futile destiny filled with pining and hopelessness.

Each region in Portugal has a musical style and fado, in particular, started in Lisbon although it soon diverged into differing forms in Porto and Coimbra. Due to its emergence in the early 19th century during a time of diverse cultural encounters, there are many projections about the birth of fado. Some say it came with African slaves and was adapted from a West African dance in Brazil while others believe that it was developed from a song of lament by Portuguese seafarers or was developed during the Moorish occupation of Portugal.

Joana AmendoeiraJoana Amendoeira

One of the earliest manifestations of fado was in a song depicting the forbidden love story between a gypsy woman by the name of Maria Severe, and Count de Vimioso, a man of nobility. Entrenched in the hopelessness of their love, as Chris Da Rosa of Vanguard Squad states, ‘Maria would find comfort in belting out her sorrows in the bars and clubs of Lisbon’s Barrio Alto, while strumming along on her guitarra Portuguesa (a twelve-string mandolin-like instrument, possibly of Moorish origin)’. This story was depicted in Portugal’s first all talking sound film, A Severa.

Alfredo MarceneiroAlfredo Marceneiro

It is said that the depth of fado comes from Lisbon’s bar crowds in the Bairro Alto and Alfama districts, however there are distinctive styles of singing fado from Lisbon, Porto and Coimbra – each place defining a certain fado variation. Fado Cantado or sung fado, from Lisbon and Porto, is performed in fado houses, much like a tavern or pub. The History of Fado describes it thus: ‘the man that sings fado usually does it in a black suit. He sings his love affairs, his city, and his miseries of life, criticizes society and politicians’ and most always makes reference to ‘saudade’ or longing”. In Coimbra, fado has the same mournful disposition, but the motivations behind the songs are from the perspective of the more aristocratic avant-garde student, bidding farewell to a youthful bohemian lifestyle or serenading under lovers windows.

João BragaJoão Braga

Although there are many fadistas (fado musicians) such as Judith and Holofernes, Max, Carlos Ramos and Celeste Rodrigues, Dulce Pontes, Mariza and Katia Guerreiro it was Amalia Rodrigues (1920 – 1999), previously known as the ‘Rainha do Fado’ (Queen of Fado), who initially pushed the genre’s boundaries, helping to develop and define it into what it is today. Rodrigues travelled the world performing and recording. Portugal mourned for three days after her death and, as one of the nation’s signature icons she was buried in the National Pantheon in Lisbon. (by Sarah Mitchell)

FadoAnd: Fado is much more then Amalia Rodrigues only. So I will start my portugese retrospektive with a very fine sampler who introduce us to the magic world of this music. Listen and enjoy all these old and new Fado songs !

Booklet02A

Tracklist:
01. Gonçalo Salgueiro: Grito (Rodrigues/Goncalves) (2002) 4.57
02. Joana Amendoeira: Amor Mais Perfeito (Raino/Rocha) (2004) 4.27
03. Ricardo Ribeiro: Esta Voz (Gordo/do Amaral) (2004) 3.00
04. Ana Moura: Amor Em Tons De Sol Maior (Rodrigues) (2004) 3.21
05. Rodrigo Costa Félix: Tinha O Nome De Saudade (de Freitas/dos Anjos) (2007) 4.00
06. Patrícia Rodrigues: Sol Oculto (Correia/Rodrigues) (2004) 2.14
07. João Braga: Ser Não Ser (Bobone/Caeiro/Campos) (2009) 2.55
08. Argentina Santos: As Minhas Horas (Cid/Campos) (2004) 4.03
09. Fernando Maurício: Biografia Do Fado (de Brito) (2009) 3.28
10. Alfredo Marceneiro: Amor É Água Que Corre (de Sousa/Duarte) (1961) 5.06
11. Carlos Ramos: Sempre Que Lisboa Canta (Nazaré/Rocha) (1958) 2.35
12. Lucília Do Carmo: Foi Na Travessa Da Palha (de Oliverira/de Brito) (1958) 2.46
13. Tristão Da Silva: Da Janela Do Meu Quarto (da Costa/Sousa) (1958) 3.35
14. Max: A Rosinha Dos Limões (Ribeiro) (1955) 3.01
15. Maria Teresa de Noronha: Pintadinho (Mariano) (1959) 2.14
16. Fernando Farinha: Eterna Amizade (Barbosa/Campos) (1958) 3.49
17. Amália Rodrigues: Malmequer Pequenino (Traditional) 2.08
18. Alfredo Marceneiro feat. Fernanda Maria: Bairros De Lisboa (Conde/Duarte) (1960) 3.33
19. Hermínia Silva: Sou Miúda (Ribeiro/Fernandes) (1959) 2.10
20. Raul Nery:  Rapsódia Portuguesa (Traditional) (1958) 3.02

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(Booklet in Portugues, English and Francais)

Fado

Amalia Rodrigues – The Queen Of Fado (2011)

FrontCover1When Amalia Rodrigues died October 6th, 1999 (aged 79) the government of Portugal declared three days of national morning. Political activity in the country’s general election campaign came to a halt. The president was the chief mourner at the singer’s state funeral. It was a singular expression of national grief and in some ways a peculiar one.

Entertainers, however famous, rarely, if ever, depart in such ceremony. It did not happen to Maria Callas, perhaps the most celebrated opera singer of recent times, when she died in 1977; or to Frank Sinatra, who died in 1998. There was some sadness, certainly; a lot of reminiscences, of course; but life went on largely uninterrupted in Greece and America. The sanctifying of Amalia Rodrigues may say something about the nature of the Portuguese as well as about what the prime minister called “the voice of the country’s soul”.

Amalia01She was known simply as Amalia. The diminution of her name was itself a reflection of her fame (as was Britain’s Diana, or Di, whose death in 1997 also briefly interrupted the life of her country). Her style of singing is called fado, the Portuguese word for fate. “I have so much sadness in me,” Amalia said. “I am a pessimist, a nihilist. Everything that fado demands in a singer I have in me.” Amalia’s message of fatalism seems to have echoed a mood among her admirers. Portugal is still among the least modern of European countries, though it has been modernising rapidly of late. It expects its economy to grow by about 3% this year, compared with an average of only 1.9% growth for the rest of the euro area. But GDP does not change a country’s sentiment overnight. Portugal was the first European country in modern times to carve out a great trading empire. Go almost anywhere in the world and you find traces of Portuguese architecture, language and genes. Generation by generation, the once-rich Portuguese have seen their empire slowly vanish, and not very gracefully. East Timor is still formally Portuguese. “I sing of tragedy,” Amalia said, “of things past.”

Amalia02Amalia Rodrigues was never sure of her exact birthday. Her grandmother said it was in the cherry season, so she assumed she was born in early summer. Other details of her childhood were also obscure. Some accounts said her father was a shoemaker; others that he was a musician. The story that as a teenager she sold fruit on the docks of Lisbon, capturing the hearts of her customers with her singing, was willingly believed by those who adored her. The adoration was put to the test in 1974 when Portugal emerged from half a century of dictatorship. Amalia’s critics said she had benefited from the patronage of the most enduring of Europe’s fascist regimes.

“I always sang fado without thinking of politics,” Amalia responded angrily. It was a claim impossible to contradict. Yet fado, with its melancholy fatalism, was an appropriate accompaniment to the thinking of the Portuguese leader, António de Oliveira Salazar. Not for him the ruthless urgency of Hitler. Rather, in his corporate state he wanted to preserve Portugal as a rural and religious society where industrialisation and other modernising influences would be excluded. He kept Portugal out of the second world war. It was too wearisome.

Amalia03Fado was the music of Portuguese tradition. If it had any foreign ingredients they were from Africa, but these were acceptable: huge areas of Africa had been Portuguese. And here was Amalia, the queen of fado, clad all in black, her throbbing voice accompanied by two guitarists, her head thrown back, her eyes closed. She was the essence of sadness, bearing the memories of two marriages; both unhappy. When Salazar heard “O Grito” (“The Cry”) he allowed himself a tear.

Unsurprisingly, the Portugal that followed the dictatorship wanted cheering up, as well as modernising. The question of whether Amalia had been a supporter of the old regime became irrelevant. Fado itself fell out of fashion. Rock was the music of democracy.

Amalia, however, had built up other audiences abroad. The Brazilians, whose language is Portuguese, flocked to see her dozen or so films. A six-week tour to Rio and other cities had to be expanded to three months. In the United States record collectors said that her songs, with their four-line stanzas, were like the blues, and she did indeed make some recordings with a jazz saxophonist, Don Byas. Italians claimed to see links between fado and opera. The French said Amalia reminded them of Edith Piaf, who sang nostalgically of the tragedies in her life. A fado song given the English title “April in Portugal” became a hit in several countries.

In Portugal fado and Amalia gradually made a comeback. Amalia showed that she was really a democrat at heart by recording “Grandola Vila Morena”, the song that had swept the country when the dictatorship ended. The socialist government presented her with the country’s highest decoration, the Order of Santiago. She was giving concerts up to a year ago, and every one was sold out. “The sadder the song, the more the Portuguese like it,” she said. In this new time of change, pessimism was back in fashion. For Amalia, it was the happiest of endings.(by economist.com)

And this is a unique collection of her greatest and most popular songs from a glittering career spanning more than 50 years.

Amalia04Personnel:
Amalia Rodrigues (vocals)
+
various orchestras and musicians

Booklet03ATitel:
01. Barco Negro (1955) (Mourão/Ferreira/Velho) 4.12
02. Nao Digas Mal Dele (1953) (Barbosa/Armandinho) 3.26
03. Uma Casa Portuguesa (1953) (Ferreira/Seqeira/Fonseca) 2.28
04. Novo fado da Severa (1953) (DantasdeFreitas) 3.11
05. Perseguicao (1945) (deSousa/Pereira/da Maia) 2.35
06. Duas luzes (1945) (de Mata/do Amaral) 3.20
07. Faz hoje um ano (1952) (Galhardo/Ferrao) 4.40
08. Passei Por Vocк (1945) (de Brito/Marceneiro) 2.55
09. Fado do ciume (1945) (do Vale/Valério) 2.57
10. Sei finalmente (1945) (Barbosa/Armandinho) 2.53
11. As penas (1945) (Caldeira/Bacalhau) 3.10
12. A tendinha (1945) (Gallhardo/Ferraro) 2.06
13. Fado Amalia (1951) (Gallhardo/Valerio) 3.01

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