Cantada
Elomar Lyrics
E então desperto e abro a janela
ânsias, amores, alucinações
Desperta amada que a luz da vela
Tá se apagando chamando você
Está chamando apenas para vê-lá morrer por teu viver.
Amada acende um coração amante
que o som suave de uma aurora distante
estremeceu aqui no peito meu
Os galos cantam pra fazer que a aurora
Rompa com noite e mande a lua embora
O peito arfante cessa e eu vou me embora
Vem namorada que a madrugada
ficou mais roxa que dos olhos teus as pálpebras
cansadas
Amada atende um coração em festa
que em minha alcova entra nesse instante
pela janela tudo que me resta
Uma lua nova e outra minguante
Ai namorada nesta madrugada
não haverá prantos nem lamentações
Os teus encantos vão virar meus cantos
voar pra os céus e ser constelações
Ai namorada nesta madrugada incendiaram-se os olhos
meus
Não sei porque você um quase nada
do universo perdido nos céus
apaga estrelas, luas e alvoradas
e enche de luz radiosa os olhos meus
Mulher formosa nesta madrugada
Somos apenas mistérios de Deus
Contributed by Bentley B. Suggest a correction in the comments below.
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Elomar Figueira de Mello is a Brazilian Northeastern composer from the rural area of Vitória da Conquista, in the state of Bahia. The son of a prosperous farmer and his Methodist wife, he has grown up under the influence of both the Christian, Protestant faith and of violeiros, the troubadours that range all Brazilian hinterland singing their own and others’s compositions, with themes related to the cordel literature.
He tried to study Music with a Swiss professor living in Brazil Read Full BioElomar Figueira de Mello is a Brazilian Northeastern composer from the rural area of Vitória da Conquista, in the state of Bahia. The son of a prosperous farmer and his Methodist wife, he has grown up under the influence of both the Christian, Protestant faith and of violeiros, the troubadours that range all Brazilian hinterland singing their own and others’s compositions, with themes related to the cordel literature.
He tried to study Music with a Swiss professor living in Brazil, but their ideas about roots music were incompatible, Elomar having a vision both more dynamic and more linked to the mentality of the people, while still fully committed to the sophistication and quality of Classical music; while his teacher wanted, and produced, a fully Contemporary music with influences from the region. Elomar’s music, while keeping the Classical forms of operas, cantatas, oratorios and other sacred music, has a distinctive Mediæval flavour, Elomar maintaining in his characteristic, idiosyncratic speech that ‘Brazilian Northeast is the last time of the Middle Ages’ (‘O Nordeste é o último tempo da Idade Média’).
He was Secretary of Urbanism for Vitória da Conquista for a while. Now he keeps a home at the city but spends most of his time in his goat-raising farm, where he shares in the work of the farm and direct it, besides writing down his music. He says he has most of it ready in his mind, and he only asks God time enough to live to be able to write it all down.
Elomar has a passion for European culture with a strong preference for the French, while totally rejecting the Anglo-Saxon one. He is nearly a Luddite, thinking all technology misused. He is deeply religious and thinks all modern European culture dead and sick.
His music, while not too difficult to hear, is quite sophisticated and manages to successfully combine both modern and Mediæval elements. It carries expressions of deep faith both by the author himself and the poetical egos. It has some striking themes to it, some universal – like Incelença ad Moribundum Solem, a requiem thanking God for all the services the Sun has performed us, to be sung when it finally dies somewhere in the future – and some parochial, like the fate of specific, if fictional violeiros and migrants from the dry, feudalised lands of the Northeast to the rich, industrial lands of the Southeast.
Some connoisseurs consider him the greatest living musician, because he manages to do Classical music that is modern and relevant to today's time while still being deeply stepped in his region’s mentality and beliefs, totally avoiding the Nihilism seen as dominating modern art in general and Contemporary music specifically.
From 2000 to 2004 he lived at Lagoa Real, trying to form a ‘sertaneza’ (country) opera project.
He tried to study Music with a Swiss professor living in Brazil Read Full BioElomar Figueira de Mello is a Brazilian Northeastern composer from the rural area of Vitória da Conquista, in the state of Bahia. The son of a prosperous farmer and his Methodist wife, he has grown up under the influence of both the Christian, Protestant faith and of violeiros, the troubadours that range all Brazilian hinterland singing their own and others’s compositions, with themes related to the cordel literature.
He tried to study Music with a Swiss professor living in Brazil, but their ideas about roots music were incompatible, Elomar having a vision both more dynamic and more linked to the mentality of the people, while still fully committed to the sophistication and quality of Classical music; while his teacher wanted, and produced, a fully Contemporary music with influences from the region. Elomar’s music, while keeping the Classical forms of operas, cantatas, oratorios and other sacred music, has a distinctive Mediæval flavour, Elomar maintaining in his characteristic, idiosyncratic speech that ‘Brazilian Northeast is the last time of the Middle Ages’ (‘O Nordeste é o último tempo da Idade Média’).
He was Secretary of Urbanism for Vitória da Conquista for a while. Now he keeps a home at the city but spends most of his time in his goat-raising farm, where he shares in the work of the farm and direct it, besides writing down his music. He says he has most of it ready in his mind, and he only asks God time enough to live to be able to write it all down.
Elomar has a passion for European culture with a strong preference for the French, while totally rejecting the Anglo-Saxon one. He is nearly a Luddite, thinking all technology misused. He is deeply religious and thinks all modern European culture dead and sick.
His music, while not too difficult to hear, is quite sophisticated and manages to successfully combine both modern and Mediæval elements. It carries expressions of deep faith both by the author himself and the poetical egos. It has some striking themes to it, some universal – like Incelença ad Moribundum Solem, a requiem thanking God for all the services the Sun has performed us, to be sung when it finally dies somewhere in the future – and some parochial, like the fate of specific, if fictional violeiros and migrants from the dry, feudalised lands of the Northeast to the rich, industrial lands of the Southeast.
Some connoisseurs consider him the greatest living musician, because he manages to do Classical music that is modern and relevant to today's time while still being deeply stepped in his region’s mentality and beliefs, totally avoiding the Nihilism seen as dominating modern art in general and Contemporary music specifically.
From 2000 to 2004 he lived at Lagoa Real, trying to form a ‘sertaneza’ (country) opera project.
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VNogs
Eita som bão! Parabéns gente, ta lindo!
Do Fogo ao Silício
Há tempos que não vejo interpretações tão lindas do compositor Elomar... Vamos compartilhar o canal gente...
É um favor que fazemos a humanidade. 🤠
Paulo Eduardo
Lindíssima interpretação. Parabéns, gente! Saudações, Caatingueiras!
Fwl Fwl
Linda moça, LINDA música, LINDA interpretação.
Jose Renato Cirino
Maravilha, vivemos para ouvir maravilhas.
Cláudio Pereira
Eita. Que lindeza!
Luiz Souza
Essa voz deve chegar bem perto do que é divino!
Rubia Fukuda
Que linda música!!! Adorei!
Das Violas do Rio Gavião
<3
Angélica De Vries
Que maravilha! Parabéns!