The album's title, "Post Fenestras Clausas," is Latin, but all the songs are performed in the Neo-Latin languages of Portuguese, French, Italian, and Spanish. The meaning of the phrase "behind closed windows" is evocative and thought-provoking throughout the lyrics and poetry that comprise the work.
Each song received special care in its interpretation in various languages, to faithfully reproduce the sonority of the sung language, the charm that each word, each phrase, can convey to the listener, the sensations, and the feelings. Because this is an eclectic work, I'd also like to enumerate the many musical influences that shaped me and are revealed in these songs and their arrangements. The primary influences are MPB (Brazilian Popular Music), samba, and samba-canção, the work of Sergio Mendes, Edu Lobo, Itamar Assumpção, and the incredible musicality of Taiguara. The Italian "canzone" that marked my entire childhood and part of my adolescence, artists like Sergio Endrigo and Lucio Dalla. Pop, rock, folk music, the psychedelia of the 60s and 70s, but even earlier, the rockabilly of the 50s. In the orchestral arrangements, the influence of Ludovico Einaudi and post-minimalism, the psychedelia of Orchestra Beirut and Herbie Hancock. Finally, the muses, the wonderful women who gave life to songs that have become immortal: Maysa, Edith Piaf, France Gall, Françoise Hardy, and today, Zaz, Mon Laferte, to name only those remembered in this work, with reverence and humility.
One final observation: I'm from Curitiba, and the song "Coração Curitibano" is a declaration of affection, but also of sadness, for this city so mistreated by an economic and political elite that, since the administration of a "bionic" mayor, imposed by the military dictatorship in the 1970s, has completely stripped it of its historical character, implementing a "neoliberal" model of exotic and exclusionary urbanism, expelling the working class from the city to the outskirts and marginalizing the humble, with the sole purpose of overvaluing the areas extorted from this population. They called this a “model city,” an “ecological city,” an example of “modern urbanism,” giving this shallow and unscrupulous marketing false arguments about what was actually done, and continually adopted by subsequent city administrations.
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