Faviela
Elomar Lyrics
A bença madia cabei de chegá
do rêno das pedra das banda de lá
meu pai mandô queu vince aqui te salvá
tomem queu subesse das nova di cá
de nada isquecesse de li priguntá
queu vince e viesse sem mais delatá
desse no qui desse preu li respostá
tem pressa das bota chapeu muntaria
apois qui amiã iantes de rompê o dia
vai junto c'as frota lá pras aligria
cum prijistença alembra qui é proxa
e já quaji Às porta a vinda do Grande
Rei Jesus o nosso Redentô
manda priguntá se a vida
p'ressas banda miorô
é qui lá nos impedrado
nossa luita inté faiz dó
se a fulô do gado
do gado maió
tombém das miunça
se as cria vingô
da roça só indaga
das mendioca só
plantada na incosta
do mato-cipó
findo o priguntoro já torno a istradá
donde é o lavatoro dex' eu me banhá
a casa sutura sizuda as jinela
vejo a camaria de renda mais bela
da sala à cunzinha só inda nun vi ela
prigunto pru via daquela donzela
resposta madia cadê faviela
mia' alma duvia
qui hai arte do mal
mia' alma difia
margosa de fel
só faiz sete lua
qui li di o anel
jurô qui era mia
pru tinta e papel
foi no minguante dessa passada
tão de repente deu-se o sucesso
qui já nem guento mais essa dô
vino dos cunfim da istrada
um mitrioso aqui posô
se arribô de madrugada
e faviela ai de mim levô!
tão linda tão bela
priciosa donzela
malvada malunga
culpada foi ela
jurô qui era mia
pru tinta e papel
foi imbora a ruia
ingrata e infiel
a bença madia já torno a istradá
e tudo queu tinha pra li priguntá
mia'alma difia
margosa de fel
só faiz sete lua
qui li di o anel
jurô qui era mia
pru tinta e papel
foi imbora a ruia
ingrata e infiel
Contributed by Eli 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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