Cantiga de Amigo
Elomar Lyrics
Lá na Casa dos Carneiros onde os violeiros
Vão cantar louvando você
Em cantigas de amigo, cantando comigo
Somente porque você é
Minha amiga mulher
Lua nova do céu que já não me quer
Dezessete é minha conta
Minha amiga conta
Uma coisa linda pra mim
Conta os fios dos seus cabelos
Conta-me se o amor não tem fim
Madre amiga é ruim
Me mentiu jurando amor que não tem fim
Lá na Casa dos Carneiros, sete candeeiros
Iluminam a sala de amor
Sete violas em clamores, sete cantadores
São sete tiranas de amor, para amiga em flor
Que partiu e até hoje não voltou
Dezessete é minha conta
Vem amiga e conta
Uma coisa linda pra mim
Pois na Casa dos Carneiros, violas e violeiros
Só vivem clamando assim
Madre amiga é ruim
Me mentiu jurando amor que não tem fim
Lá na Casa dos Carneiros, onde os violeiros
Vão cantar louvando você
Em cantigas de amigo, cantando comigo
Somente porque você é minha amiga mulher
Lua nova com céu que já não me quer
Dezessete é minha conta
Minha amiga conta
Uma coisa linda pra mim
Conta os fios dos seus cabelos
Sonhos e anelos
Conta-me se o amor não tem fim
Madre amiga é ruim
Me mentiu jurando amor que não tem fim
Writer(s): Elomar Figueira Melo
Contributed by Jordyn 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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