With a Portuguese Fado called vocal and dance genre. The Fado has two distinct traditions: the fado from Lisbon and the Fado, or so-called "Canção de Coimbra, Coimbra from the city.
Fado literally means "fate". Fado is in the slums of Lisbon in the mid 19th Century emerged. This period corresponds to that of moving to Brazil from the Portuguese Court (1808), which has promoted cultural exchanges.
Fado could possibly have originated from a synthesis of different genres, namely:
· from the "Lundum" from Brazil, a vocal and Tangenre African origin.
· from the "Modinha. The Modinha is from the Italian opera arias of the 18th century. "Modinha" is a diminutive of "moda", describes an old Portuguese songs.
· from the "fado", a Brazilian dance that is still in the rural areas of the state of Rio de Janeiro in custom.
· from the "fofa", a sensuous dance, in Brazil and Portugal in the 18th Century was widespread and probably was the predecessor of the Lundus.
Originally, the Fado, who danced with the five-string guitar, the "guitarra", was accompanied.
The development of the fado is divided by the researchers in four phases:
· First phase: the "spontaneous and popular" phase (1830-1868/9). Fado was common especially in the poor neighborhoods and prostitution.
· Second phase: the "aristocratic and literary" Fado (1868/9-1890). During this time reached the Fado, the middle classes.
· Third phase: For the period 1890-1920 learned of the Fado and the wide distribution has been integrated into denVarietés.
· Fourth Phase: This phase began in the 1930s. Since that time, the Fado has professionalized and developed into an artistic expression. The improvisational supplies have failed and the introduction, the lyrics and the compositional style was renewed. This period also corresponds to that of the totalitarian regime of the "Estado Novo", which lasted from 1924 to 1974. This period was marked by the censor. The musicians had a license, "carteira profissional", have to exercise their professional skill and in a tourist restaurant, the "casa típica" to occur. During this time, the first Fados were recorded and broadcast on radio and television. This time is bring out brilliant performers as Amalia Rodrigues (1920-1999), Alfredo Marceneiro (1891-1946) and "viola" player Martinho d'Assunção (1914-92).
Fado can be heard live or through the media such as radio, television and recordings. In Lisbon, the performances are in the "casas Típicas" instead, and in the "Teatros de revista, revue theaters, taverns, restaurants, etc. are also organized concerts for a large auditorium. Fado can be heard everywhere in Portugal, especially in South it is very common.
During the performances, the "Fado singer" the central figure, which is usually accompanied by a player of "guitarra". The Fado singer must have their own individuality, which is reflected in the melodic improvisation, a process that is called "estilar". The Fadistas receiving for their melodic creativity, ornamentation, rhythmic freedom, timbre and diction are standing, "estilistas referred. Fado is sung by men and women. are the singers, the singer decides which Fados played in what key. Since its inclusion in the revue in the 1920s, connects to the Term "vedeta" with acclaimed professional Fadistas.
course, there are Fadistas and guitarristas "that have emerged as a composer.
The standard accompaniment is a combination of "violation" and the "guitarra". The four accompanied by two "guitarras", the "violation" and "viola baixo" is used for performances in halls or in recording studios. Instrumental styles are distinguished on the used Fingerstatz, vibrato (the so-called "gemido"), the type of stroke, ornamentation, tremolo and diversified sound. The musicians are from the first "guitarrista" passed. If the "violista" has more long pedigree, he can also take the lead. The "violation" and the "viola baixo" give the harmonic and rhythmic support. The fado instruments are traditionally played by men.
the "guitarra" is also "guitarra portuguesa" called. It consists of a pear-shaped body, two choirs with 6 strings and 17 frets, which correspond to three and a half octaves. It is played with thumb and index finger with the use of real or false nails. The "guitarra" comes from the "English guitar" in the second half of the 18th Century by the British colony in Oporto came to Portugal. The "guitarra" is used in addition to the monitoring as well as for the "guitarradas" designated instrumental repertoire within the traditions of Lisbon and Coimbra. The "guitarras" Lisbon and Coimbra differ in size, mood and decorative details. The "guitarra" from Coimbra has a slightly larger body and is tuned down a tone. This gives it a fuller sound.
The English guitar of the 18th Jarhhunderts succeeded in the 19th Century through France to Portugal. It was acquired in the fado practice. In allusion to its French distributors, they will also "viola francesa" or "violão" mentioned.
The "viola baixo" is larger than the "violation". It has a metal vierchörigen stringing.
The audience is an important component of a fado performance. In a performance the most attention is required of the audience. Fado is in fact a serious matter for all concerned and this is a way to give great respect to Fado. Therefore, spectators are loud transported people out of the hall outside. On the other hand, bad singers are cut off mid song. In Lisbon, not a spectator hears a poor performance until the end, but also tolerates no interruption during a good appearance. At the end of a song are applause, whistles, shouts, the heads on the tables and spilling beer are reasonable. Particularly good performances are accompanied with the cry "Fado singer".
The Fadisten classify the fado into two categories: the "fado castiço", regarded as the authentic fado and the "fado canção", the "Fado Song".
The "fado castiço" is also called "fado fado", called "fado clássico" and "fado tradicional. The latter is regarded as the authentic fado. Innderhalb of "fado castiço" there is a distinction between three anonymous fados of which it is believed that they belong to the roots of the genre, the "Raiz do Fado". The three basic
Fadotypen are the "fado corrido", "fado Mouraria" and "fado menor. These three Fados have fixed rhythmic and harmonic structures (tonic-dominant, or step IV) and a fixed rhyhtmisches pattern that consists of a constantly Widerholt motif. About Diesner patterns is composed or improvised. The lyrics follow predetermined patterns: The cutting each consist of four, five, six or ten verses.
Fado is recorded in 4 / 4. The "fado corrido" and "fado Mouraria" are written in major and are usually put forward at a rapid pace. The other hand, are rather minor in Fados played in slow tempo / sung. All other elements are variable.
important characteristic of the "fado canção" is the refrain-stanza structure. The harmonic structures are more complex than in "fado castiço. The melodies are set, while the monitoring can be developed to taste of the companion during the game. The vocal improvisation is rather limited in contrast to the "fado castiço. The "fado canção" has developed in the "teatro de revista" in the 1880s. In the 1920s and 1930s was the "fado canção" integtierter part Varit one, or a performance. An important phase of the "fado Canco" took place in the 1960s, namely those composed by Alan Oulman for the famous interpreter of Amália Rodrigues. These Fados the poetic texts and the complex harmonic structures were characterized.
Fado texts deal with issues such as prostitution houses, Lisbon neighborhood, people who are associated with fado, special events and feelings of longing, jealousy, hatred, love, revenge, etc.
Canção de Coimbra
The Fado or "Canção de Coimbra" is a tradition of lyrical performances that integrated into the academic life of the medieval University of Coimbra is. The vocal and instrumental genres Fado, "balada" and "Guitarrada" are. These genres will be performed traditionally by male students. The Fado of Coimbra was the 19th student from Lisbon Century introduced. Since then, Coimbra has continued his own style which has evolved from a synthesis of different elements. The tradition of the Italian "bel canto" was an important factor. The "guitarra" and the "violation" are the main instruments for accompaniment. The viola is often played by the singer himself. The "balada" draws from the high quality of his literary texts, which have a simple melody, to highlight the text. The "balada" was also important for the political development of the song in Portugal in the 1960s and 1970s.
Amália Rodriguez
Amália da Piedade Rodriguez was on 23 , 1920 in a numerous and poor family in Beira Baixa born. The family tried their luck in the capital, but after a short time, she went back to the province. Amália was given at 14 months in the care of grandparents, they went big. It seems that Amália sang at the age of four years and early on earned their living by singing. School-age singing she heard the washer women of the neighborhood Fado. This impressed her very much. In elementary school, she made her first appearance before an audience. At twelve, she sang the tango by Carlos Gardel and already knew his whole repertoire. As
Amália was fourteen years old, her family moved again to to Lisbon. Amália moved in with her family where she lived in great poverty. She had great difficulties in integrating into their family.
At fifteen, accompanied by his mother and his sister, sold in Amália "Cais da Rocha" Alcantara fruit. Her timbre is immediately striking and very fast in the Bairro known. It is chosen to be Soloist in the "Marcha de Alcantara" to sing. In 1936, she has her first appearance on the streets of Lisbon. The head of the Marcha insisted and convinced Amália in the "Concurso da Primavera" participate. In this Wettberwerb she meets Francisco da Cruz, a guitarist known, that is to be her husband in 1940. The marriage lasts less than two years. During a rehearsal she meets a wizard Jorge Soriano, head of the most famous casa de fado ", the" Retiro da Severa ", know that it proposes to make an audition. Though the audition was a success at Soriano, rejects Amália, because her family is a career opposed as a musician.
In 1939, she finally creates her performance in "Retiro da Severa. This performance marks the beginning of a meteoric career.
1943, they engaged in "Solar da Alegria". José de Melo will be their new manager and the prices of their entry ticket will rise from 500 escudos escudos to 800. Her repertoire improved and bought new "Cantigas" field. It was the custom, this "Cantigas" Now for about 30 escudos to the poets at Fado and to commission.
worked in the years between 1940-1947 it for the theater, the so called "revistas". Her first appearance abroad will be in Madrid, where the English songs and flamenco is fascinating. 1944 Amália an appearance in Rio de Janeiro, in what was then the largest casino in Latin America ". Casino Copacabana" At 24, she interprets a performance that was designed for them alone. Usrpünglich The four-week contract was extended because of the huge success of three more months. In Rio de Janeiro, she sings for the first time one of their most famous Fado: "Ai, Mouraria.
In 1947, she gets the lead role in the movie "Capas Negras", which is a huge success. For this film she receives the award "Premio Thurs SNI" as best actress. Amália becomes a national idol.
There are further performances in Paris and London. In 1949 she played in the next film, a Portuguese-Brazilian production, "Vendaval maravilhoso.
In 1950, she participates in the "Plano Marshall", which is vital to their international career. This is a program that is subsidized by the states, and allows young artists to perform in various European cities. LPs / CDs from this year followed by North and South America, and Africa. It is worth mentioning her appearance in "Mocambo" in Hollywood, one of the most famous clubs.
From now on a steep career that she will follow up to their end of life und die sie zu aller Zeiten berühmtesten Fadista kronen wird. Am 6. Oktober 1999 im Alter von Amália stirbt 79 Jahren.
Abschliessend folgt ein Fado, Amalia Rodriguez von der geschrieben worden ist, und der etwas each verständlicher macht, ist was Fado:
All this is Fado - Amalia Rodriguez / F. Carvalho
You asked me the other day
If I knew what fate
I told you I did not know you watched amazed
Without knowing what he was saying I lied
that time I told you I did not know But I
- tell you now
lost souls won
Nights Shadows
bizarre
In Mouraria
Sing a ruffian
Cry guitars
jealousy Love Ash and lime Pain and sin
All this exists
All this is sad
All this is fado
If you want to be my master
And you have me always by your side
Not only talk to me of love
Tell me also of fado fado
And my punishment is just born
pr'a me lose
Fado is all that I say More
I can not say.
All Fado das ist
Dur fragtest letztends mich, ob ich
wüsste, was Fado know.
Ich sagt, ich es nicht wüsste.
sagtest Du, Du seistä überrascht. Ohne zu wissen
, was ich sagt, ich damals
Log
Und sagt, ich wüsste it does not.
conquered for souls lost
nights,
Strange shadows
in a Moorish quarter.
A whore sings
crying guitars,
ash and fire,
pain and sin.
do all this,
All this is sad
All of this is fado.
If you want to be my Man
And I always want to see your side,
Do not talk to me tell of love, But I
of Fado.
Fado is my punishment,
I was born to be lost.
Fado is all that I say
And all that I can not pronounce.
(translation by Paul Vernon)
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