Mascarada/ Minhas Madrugadas/ Injúria/ Recado/ O Sol Nascerá (A Sorrir)/ Jurar com Lagrimas/ Rosa de Ouro

Lyrics from “Mascarada” by Zé Kéti and Élton Medeiros (1964)


Vejo agora esse teu lindo olhar/ I see your beautiful gaze
Olhar que eu sonhei/ A sight I dreamed of
E sonhei conquistar/ And dreamed of winning over
E que num dia afinal conquistei, enfim/ And that in the end one day I won over at last Findou-se o carnaval/ Carnival ended
E só nos carnavais/ And only during Carnivals
Encontrava-me sem/ I’d find myself unable
Encontrar este teu lindo olhar, porque/ To find your beautiful gaze, because
O poeta era eu/ I was the poet
Cujas rimas eram compostas/ Whose rhymes were composed
Na esperança de que/ Of the hope that
Tirasses essa máscara/ You’d remove that mask
Que sempre me fez mal/ That always caused me pain
Mal que findou só/ Pain that ended only
Depois do carnaval/ After Carnival

Lyrics from “Minhas Madrugadas” (Paulinho da Viola/ Candeia, 1965)

Vou pelas minhas madrugadas a cantar/ I go along through my late nights, singing
Esquecer o que passou/ To forget all that happened
Trago a face marcada/ I show wear and tear
Cada ruga no meu rosto/ Every wrinkle on my face
Simboliza um desgosto/ Represents a hardship

Quero encontrar em vão o que perdi/ I want to find in vain what I lost
Só resta saudade/ Only saudade remains
Não tenho paz/ I have no peace
E a mocidade/ And my youth
Que não volta mais/ That will never return

Quantos lábios beijei/ How many lips I kissed
Quantas mãos afaguei/ How many hands I caressed
Só restou saudade no meu coração/ Only saudade is left in my heart
Hoje fitando o espelho/ Looking in the mirror today
Eu vi meus olhos vermelhos/ I saw my bloodshot eyes
Compreendi que a vida/ And understood that the life
Que eu vivi foi ilusão/ I lived was an illusion

Lyrics from “Injúria” by Élton Medeiros and Cartola

Pois é/ That’s right
Tudo começou assim/ That’s how it all started
Alguém se vingou em mim/ Someone took revenge on me
Inventando o que eu não pratiquei/ Making up something I hadn’t done
Pois é/ That’s right
Só deus sabe o quanto amei/ Only god knows how much I loved
Por te amar tanto chorei/ For loving you how I cried
E chorando levo a coisa até o fim/ And crying I take the thing to its end
Não sei como foste acreditar/ I don’t know how you came to believe
Em mentira tão vulgar/ In such a vulgar lie
De um sujeito tão vulgar também/ From such a vulgar guy what’s more
Sofri a maior decepção/ I’ve suffered the greatest disillusion
Tentarei te esquecer/ I’ll try to forget you
Pois te amar foi ilusão/ Because loving you was an illusion
Não sei porque foste derrubar/ I don’t know why you went and knocked down
O castelo que eu fiz/ The castle I built
Em meu castelo era tão feliz/ In my castle I was (or you were) so happy


Lyrics from “Recado” by Paulinho da Viola and Casquinha (1965)

Leva um recado/Take a note
A quem me deu tanto dissabor/ To the one who caused me such bitterness
Diz que eu vivo bem melhor assim/ Say that I live much better like this
E que no passado fui um sofredor/ And that in the past I was a wretch
E agora já não sou/ And now I’m not anymore
O que passou, passou/ The past is the past
E agora já não sou/ And now I’m not anymore
O que passou, passou/ The past is the past
{bis}

Vai dizer à minha ex-amada/ Go and tell my ex-love
Que é feliz meu coração/ That my heart is happy
Mas que nas minhas madrugadas/ But that in my late nights
Eu não esqueço dela, não/ I haven’t forgotten her
Leva um recado!/ Take a note


Lyrics from “O Sol Nascerá (A Sorrir)” by Cartola and Élton Medeiros (1963)

A sorrir/ Smiling
Eu pretendo levar a vida/ I intend to lead my life
Pois chorando/ Because crying
Eu vi a mocidade/ I saw my boyhood
Perdida/ Lost

Finda a tempestade/ Once the storm’s over
O sol nascerá/ The sun will come out
Finda esta saudade/ Once this saudade is over
Hei de ter outro alguém para amar/ I’ll find someone else to love


Lyrics from “Jurar Com Lágrimas” by Paulinho da Viola (1965)

Jurar com lágrimas/ Swearing with tears
Que me ama/ That you love me
Não adianta nada/ Won’t get you anywhere
Eu não vou acreditar/ I won’t believe it
É melhor nos separar/ It’s better for us to split up

Não pode haver felicidade/ There can’t be bliss
Se não há sinceridade/ If there’s no sincerity
Dentro do nosso lar/ In our home
Se aquele amor não morreu/ If that love hasn’t died
Não precisa me enganar/ You don’t need to try to fool me
Que seu coração é meu/ That your heart is mine


Lyrics from “Rosa de Ouro” by Paulinho da Viola, Élton Medeiros and Hermínio Bello de Carvalho (1965)

Ela tem uma rosa de ouro nos cabelos/ She has a golden rose in her hair
E outras mais tão graciosas;/ And others too so lovely
Ela tem outras rosas que são os meus desvelos/ She has other roses that are my devotion
E seu olhar faz de mim um cravo ciumento/ And her gaze turns me into a jealous thorn
Em seu jardim de rosas/ In her garden of roses
Rosa de ouro, que tesouro/ Golden rose, what a treasure
Ter essa rosa plantada em meu peito!/ To have this rose planted in my heart
Rosa de ouro, que tesouro/ Golden rose, what a treasure
Ter essa rosa plantada no fundo do peito!…/ To have this rose planted deep in my heart…

 

— Commentary —

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Paulinho da Viola and Élton MedeirosPhoto via Instituto Moreira Salles.

I translated all of these together because they’re all recorded as a single medley track on the album Samba na Madrugada (1966). In April 1966, just before leaving for the First Festival of Black Arts in Dakar, Senegal, Paulinho da Viola and Élton Medeiros hurriedly recorded the albumwhich became an enduring samba classic.  (It was supposed to be called Na Madrugada, but the record company misprinted the name, and it stuck.)

According to Élton Medeiros, in an interview recorded in 1985 for the General Archive of the City of Rio de Janeiro, he and Paulinho recorded the album in a single night on the eve of their trip to Africa, from 9 p.m. to 6 a.m.  Medeiros laughed as he recalled the other musicians joking that “Benil [Santos, the album’s producer] thinks you’re going to die on that plane,” because Santos was in such a rush to record everything before they left.

Medeiros said that by the middle of the night he was exhausted, and the album included moments of him falling asleep, including at the beginning of the first song in this ‘potpourri,’ or medley, “Mascarada.” He said he could be heard nodding off as the song began but that they were in too much of a rush to do a retake.

In 1968, the renowned music critic Luiz Carlos Maciel wrote in the Rio daily Correio da Manhã that the album transmitted a “pleasant spontaneity,” with performances offering the “freshness of improvisation”; Medeiros’s description of the recording session helps to explain that vibe. Maciel praised Samba na Madrugada as a model samba album, beginning, “O samba carioca has its traditions. And almost all of them can be found on this LP by Paulinho da Viola and Élton Medeiros.” He wrote that the collection of sambas revealed “roots on the morro” — the favela — “but a trunk nurtured by the asphalt,” or more refined city below.

Medeiros recalled that he and Paulinho were in a bit of a fight at the time with Zé Kéti, with whom they had been performing and recording as A Voz do Morro since they all began to frequent Cartola’s restaurant Zicartola together in 1964. So they abandoned A Voz do Morro and decided, upon Benil Santos’s urging, to record an album on their own.

The trombonist on the album is Raul de Barros, who also traveled with the Brazilian delegation to the festival in Senegal. Élton Medeiros played trombone as a teenager, and had always been a vocal admirer of the instrument. He stopped playing when the friend whose trombone he had borrowed asked for it back; after that, he said he went into a botequim and bought a matchbox — a cheaper and more portable instrument. He can be heard playing matchbox on this recording.

A couple notes on the other songs here: “Recado” was the first samba Paulinho da Viola played when he went in late 1964 to Portela Samba School. When the composers there asked him to show them one of his compositions, he played the first part of “Recado” twice and recalls that Casquinha jumped in with the second part on the spot.

Cartola and Élton Medeiros also composed “O Sol Nascerá (A Sorrir)” on the spot when challenged to compose a samba one night at the house on Rua das Andradas that prefigured Zicartola.

Main source for this post:  Élton Medeiros depoimento para o Projeto Memória Músical Carioca, Arquivo Geral da Cidade do Rio de Janeiro, 4 July 1985.

Lupicínica

Lyrics from “Lupicínica” by Aldir Blanc and Jayme Vignoli (2005)

___

Amei // I loved
uma enfermeira do Salgado Filho // A nurse from Salgado Filho
paixão passageira, sem charme nem brilho // A short-lived passion, without charm or splendor
roteiro batido, romance na tarde // A time-worn script, afternoon romance

E aí, numa seresta na Dois de Dezembro // And then, in a seresta on Dois de Dezembro
me perguntaram por ela: “-Nem lembro…” // They asked me about her, “I don’t even remember,”
eu respondi com um sorriso covarde// I replied with a sheepish grin

Ouvi – que bofetada! – “Morreu duas vezes // Then I heard – what a blow! –  “She died two times –
Uma aqui e agora, a outra há seis meses” // One here and now, the other six months ago”
Balbuciei: “-Morrida ou matada?” // I stammered, “Died or was killed?”

“-Depende do seu conceito de assassinato // “Depends on your understanding of murder
Um pobre amor não é amor barato // A poor love isn’t cheap love
Quem fala de tudo não sabe de nada.”// He who who talks about everything doesn’t know anything”

Na rua do Tijolo, bloco 5, aquele de esquina // On the rua do Tijolo, block 5, that one on the corner
morou uma enfermeira com a chama vital de Ana Karenina // Died a nurse with the vital flame of Ana Karenina

Dirá um dodói que Tolstói era chuva demais pra tão pouca planta // Some nut will say that Tolstoy is ‘too much rain for such little plant’
Ô trouxa, heroínas sem par podem brotar na Rússia ou lá em Água Santa…// Oh fool, heroines beyond compare can sprout up in Russia or out in Água Santa

Aquela mulher que dosava o soro nas veias dos agonizantes // That woman who administered serum into the veins of those in agony
não teve sequer um calmante pra dor sem remédio que aflige os amantes // Had not a single sedative for that pain without remedy that afflicts lovers

Por mais que a literatura celebre figuras em vã fantasia // As much as literature might celebrate figures in empty fantasy
ninguém foi mais nobre que a Pobre da Enfermaria // None was nobler than that Poor lady of the Infirmary

— Commentary —

 

aldir_blanc_Home
Aldir Blanc at his home in Tijuca.

Today, September 2, 2017, is Aldir Blanc‘s 71st birthday, and for the occasion I decided to translate this beautiful song he composed with Jayme Vignoli and released on Vida Noturna (2005). “Lupicínica” serves as yet another testament to Aldir’s exquisite talent for perfectly portraying the grace and grit of life in Rio in his lyrics. In “Lupicínica,” he characteristically weaves together elements of high culture (Tolstoy in this case) and vignettes that depict crude minutia of a working-class existence in Rio’s north zone and exalt its obscure protagonists. There’s plenty on Aldir’s poetic style in previous posts on Aldir, though, so here I’ll just explain a little about this song. Salgado Filho, as you can guess, is a hospital in Méier, a middle/lower-middle-class suburb of Rio de Janeiro; the neighborhood Água Santa is poorer and farther out. Dois de Dezembro is a road in Rio’s more upscale Flamengo neighborhood, and with “Rua do Tijolo” Aldir could be referring to the street by this name in the suburb of Piedade, or to the street where a big condominium complex – Tijolinho – is located in Vila Isabel.  The tale of passion, scorn and death in this song recalls themes common to Lupicínio Rodrigues’s songs; I’m guessing that may be the inspiration for the name.

Jayme Vignoli, who composed the music, is a cavaquinho player, composer and arranger from Rio de Janeiro, a professor at Rio’s Escola Portátil de Música and cavaquinista with several choro groups including Água de Moringa.

“Chega de Saudade” — “Garota de Ipanema” — “O amor em paz”

Chega de Saudade (1958, Tom Jobim & Vinicius de Moraes)

Vai minha tristeza // Get along, my sorrow
E diz a ela que sem ela não pode ser // And tell her it’s just impossible without her
Diz-lhe numa prece // Urge her in an entreaty
Que ela regresse // To come back to me
Porque eu não posso mais sofrer // Because I can’t suffer any longer

Chega de saudade // That’s enough of saudade
A realidade é que sem ela não há paz // The truth is that without her there’s no peace
Não há beleza  // There’s no beauty
É só tristeza e a melancolia // Only sadness and melancholy
Que não sai de mim, não sai de mim, não sai // That won’t leave me be, won’t leave me, won’t leave…

Mas se ela voltar, se ela voltar // But if she comes back – if she comes back
Que coisa linda, que coisa louca // What a beautiful thing, what a crazy thing
Pois há menos peixinhos a nadar no mar // Cause there’re fewer fishies swimming in the sea
Do que os beijinhos que eu darei na sua boca // Than the kissies I’ll plant on her mouth

Dentro dos meus braços // In my arms
Os abraços hão de ser milhões de abraços // The hugs will become millions of hugs
Apertado assim, colado assim, calado assim // Tight like so; entwined like so; hushed, like so
Abraços e beijinhos, e carinhos sem ter fim // Hugs and kisses and caresses without end
Que é pra acabar com esse negócio de você viver sem mim // Which is to put an end to this nonsense of you living without me!

(repeat)


“Garota de Ipanema”(1962, Tom Jobim & Vinicius de Moraes)

Olha que coisa mais linda // Look, what a most beautiful thing
Mais cheia de graça // Most full of grace
É ela a menina // It’s her, the girl
Que vem e que passa // That appears and passes by
Num doce balanço // In a sweet sway
A caminho do mar // On her way to the sea

Moça do corpo dourado // The girl with that body of gold
Do sol de Ipanema // From the sun of Ipanema
O seu balançado é mais que um poema // Her sashay is more than a poem
É a coisa mais linda que eu já vi passar // It’s the most beautiful thing I’ve ever seen go by

Ah, por que estou tão sozinho? // Oh, why am I so lonely?
Ah, por que tudo é tão triste? // Oh, why is everything so sad?
Ah, a beleza que existe // Oh, this beauty that exists
A beleza que não é só minha // Beauty that’s not mine alone
Que também passa sozinha // That also passes by on her own

Ah, se ela soubesse // Oh, if she only knew
Que quando ela passa /That when she passes by
O mundo inteirinho se enche de graça // The whole wide world swells up with grace
E fica mais lindo // And grows more beautiful
Por causa do amor // On account of love


“O amor em paz” (1961, Tom Jobim & Vinicius de Moraes)

Eu amei // I loved
E amei, ai de mim, muito mais // I loved, woe to me, much more
Do que devia amar // Than I ought to have loved
E chorei // And I cried
Ao sentir que iria sofrer // Sensing that I would suffer
E me desesperar // And grow desperate

Foi então // That was when
Que da minha infinita tristeza // Out of my infinite sadness
Aconteceu você // You came along
Encontrei em você // I found in you
A razão de viver // My reason for living
E de amar em paz // And for loving in peace
E não sofrer mais // And never suffering again
Nunca mais // Never again
Porque o amor // Because love
É a coisa mais triste // Is the saddest thing
Quando se desfaz // When it falls apart
O amor é a coisa mais triste // Love is the saddest thing
Quando se desfaz // When it falls apart

— Commentary —

Tom_Vinicius_1960_BaraodaTorre
Tom Jobim & Vinicius de Moraes at Tom’s home on R. Barão da Torre, Ipanema. 1960s.

Bossa nova classics are some of the songs curious listeners search for the most, so here are a few of the standards.  And as you can see, the Portuguese lyrics differ significantly from their respective English versions (“No more blues“; “Girl from Ipanema“; “Once I loved“).

So much has been written about bossa nova that I think my posts on bossa nova songs are probably more valuable just for the literal translation of the lyrics, in part because there are so many different stories out there – even in generally reliable sources – that it’s hard to feel confident about the veracity of many of them. But below I provide a little commentary on each of these songs.

Lavadeira
A “lavadeira” like the ones João Gilberto says he was inspired by.

João Gilberto liked to say he developed his innovative bossa-nova rhythm on the guitar in imitation of the rhythmic sway of the hips of the lavadeiras (laundry women) in Juazeiro, his home town in Bahia. He has also always insisted that bossa nova isn’t a genre; it’s just sambas performed with a little added twist – the new bossa of his guitar and voice. As you know, that bossa — whether it was the result of an epiphany he had while watching the lavadeiras of Juazeiro, or the culmination of a trend in Brazilian music that he managed to capture and express — turned the Brazilian music scene on its head in 1958, and in turn, quickly swept the United States off its feet.

“Chega de Saudade” was the title track on João Gilberto’s seminal 1958 album that is considered the cornerstone of bossa nova. Tom Jobim summed up the importance of the album and João Gilberto’s influence on the Brazilian music scene in his clear-sighted text in the liner notes. At the time, his affirmations seemed exaggerated to many consumers who had barely heard of 27-year-old Gilberto:  “In almost no time, he [João Gilberto] has influenced an entire generation of arrangers, guitarists, musicians and singers,” Tom wrote.

Funnily enough, according to Tom, quoted in A Canção no Tempo, this song — which casts off saudade in its lyrics — is nostalgic in its very construction, and not really the best representative of anything “nova”: “Its introduction recalls those traditional introductions of ensembles of guitar and cavaquinho … It has all of the classic modulations of old music… It’s a nostalgic song that’s rejecting saudade!”

But the version released on João Gilberto’s album was indeed bossa nova, with João Gilberto’s rhythmically innovative guitar strokes woven together with his soft style of singing and the simplicity of the lyrics — including the rhyme of peixinhos (fishies) with beijinhos (kissies), which raised more than a few critical eyebrows.

“Chega de Saudade” was first released on Elizeth Cardoso’s landmark album Canção do amor demais, six months prior to Gilberto’s Chega de Saudade, and on that album already represents a strong precursor to bossa nova, with João Gilberto playing his signature guitar accompaniment. Cardoso’s album is considered a “bridge” to the bossa-nova period that came into swing with Chega de Saudade.

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22 September 1963: Lyrics published in Jornal do Brasil column “Sing along with Radio JB”

Tom and Vinicius said that “Garota de Ipanema” was inspired by a teenage girl who they often admired as she passed by Bar Veloso, a bar on the street where she lived where the two were devoted patrons in the early ’60s. The bar has since taken the name of the song. In a 1965 interview with the magazine Manchete, Vinicius identified the girl as Heloísa (Helô) Menezes Pais Pinto (Helô Pinheiro, after marriage), saying: “For her we composed, with the utmost respect and speechless enchantment, the samba that put her in headlines around the world and turned our dear ‘Ipanema’ into a magical word for foreign listeners.”

The song wasn’t thrown together on a napkin in Bar Veloso, though. Both Tom and Vinicius labored carefully over their respective parts and, together with João, presented the version they were pleased with during the show Encontro, which debuted its forty-five day run at the boîte Au Bon Gourmet on 2 August 1962.  During the show, the trio included a playful intro to “Garota de Ipanema” that could actually serve as an introduction to much of bossa nova:

Vinicius_e_heloisaPinheiro
Vinicius de Moraes with Helô Pinheiro (1960s)

João Gilberto: “Tom e se você fizesse agora uma canção que possa nos dizer, contar o que é o amor…” (Tom, how about if you were to make a song right now that might tell us, explain what love is…)

Tom Jobim: “Olha Joãozinho, eu não saberia, sem Vinicius para fazer a poesia…” (Look, dear João, I wouldn’t know how, without Vinicius to write the poetry…)

Vinicius de Moraes: “Para essa canção se realizar, quem dera o João para cantar” (For this song to come to be, if only we could have João to sing…)

João Gilberto: “Ah, mas quem sou eu? Eu sou mais vocês. Melhor se nós cantássemos os três” (Ah, but who am I? I prefer the two of you. Best for all three of us to sing!)

…Olha que coisa mais linda, mais cheia de graça…

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21 August 1964: “Brazil seen from afar” column in Rio’s Diário das Noticias newspaper features news of “Garota de Ipanema,” the “latest champion of album sales in the United States, beating out the Beatles’ ‘A Hard Day’s Night.'”

“Garota de Ipanema” was released in early 1963 on the Phillips LP A Bossa dos Cariocas, and six months later Tom introduced it to American listeners on the Verve LP The Composer of Desafinado PlaysAt the end of ’63, Verve released the Astrud Gilberto/Stan Getz single “Girl from Ipanema” (with the title taken from the new English-language version, by Norman Gimbel), and then in 1964, the tremendously influential album Getz/Gilbertowhich changed the musical landscape around much of the world, became the first Grammy-Award-winning album from non-American artists and propelled “Garota de Ipanema” and the amateur Astrud Gilberto to enduring international stardom.

Finally, I don’t have much to say about “O amor em paz,” except that the harmony and lyrics are brilliantly complementary in this song, shifting between minor and major modes as the lyrics shift between notes of sadness and joy. João Gilberto released the song on his self-titled LP in 1961.

For more bossa nova songs, see: Insensatez; Corcovado; LigiaRosa Morena; Se todos fossem iguais a você and Samba do Avião.

Main sources for this post: A Canção no Tempo by Jairo Severiano and Zuza Homem de Mello and Bim Bom by Walter Garcia