A self-taught guitarist and singer, Gilberto moved to Rio de Janeiro in 1950 and joined the vocal group Garotos da Lua ("The Boys of the Moon") as their lead singer. After a year and a half, he was kicked out of the group for his lack of discipline and spent the next several years in a marginal existence. Eventually, he found his way, creating a new way to express himself in voice and on the guitar. The result of his obsessive experiments became known as bossa nova.
Bossa nova is a refined version of samba, deemphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, bossa nova usually utilizes a drum set. João Gilberto often eschews all accompaniment, using only his guitar, which he uses as a percussive as well as a harmonic instrument. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the guitar.
This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists sought to imitate it. It was first heard on record in 1958 when João Gilberto accompanied singer Elizete Cardoso in a recording of "Chega de Saudade", a song by Antonio Carlos Jobim and Vinicius de Moraes. Shortly after this recording, João Gilberto made his own debut single of the same song, followed by the 1959 LP, Chega de Saudade. The song became a hit, launching Gilberto's career and the bossa nova craze.
Besides a number of Jobim compositions, the album Chega de Saudade featured older sambas and popular songs from the 1940s and '50s, all performed in the distinctive bossa nova style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by such North American jazz musicians as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's wife, Astrud, became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard for the ages.
João Gilberto continued to perform through the 1960s but did not release another studio album until João Gilberto en México, recorded in 1970 during a period of residence in Mexico. João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution and is widely considered to be his best album. The year 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha, sister of Chico Buarque, who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.
Having lived in the US since 1962, João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release, João, with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album Canto Do Pajé by Veloso's sister Maria Bethânia on which Bethânia and Gilberto sing an intimate duet Maria/Linda Flor (Barroso, Peixoto, Vogler, Costa, and Pôrto) accompanied solely by his guitar. João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.
Evenly interspersed with these studio recordings have been the live recordings, Live in Montreux; João Gilberto Prado Pereira de Oliveira; Eu Sei Que Vou Te Amar; Live at Umbria Jazz, and Live in Tokyo.
While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958-1961). The disc also included three tracks from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.
João Gilberto has long had a reputation as an eccentric recluse and a nearly neurotic perfectionist. He lives in an apartment in Leblon, Rio de Janeiro, refusing all interviews and avoiding crowds. He has been known to walk out on performances in response to an audience he considers disrespectful or out of theaters possessing acoustics below his standards, and at times demands that the air conditioning be turned off at concert venues. Yet he continues to perform to sell-out crowds in Brazil as well as in Europe, North America, and Japan.
Discography:
1959 - Chega de Saudade (Odeon)
1960 - O Amor, o Sorriso e a Flor (Odeon)
1961 - João Gilberto (Odeon)
1962 - The Boss of the Bossa Nova (Atlantic)
1963 - The Warm World of João Gilberto (Atlantic)
1964 - Getz/Gilberto (Verve)
1965 - Herbie Mann & João Gilberto (Atlantic)
1974 - João Gilberto en Mexico (PolyGram)
1976 - Best of Two Worlds (Columbia)
1977 - Amoroso (Warner Brothers)
1981 - Brasil (Warner Brothers)
1986 - João Gilberto Live in Montreux (WEA)
1991 - João (PolyGram)
2000 - João Voz e Violão (Universal)
2002 - Live at Umbria Jazz (Egea)
2004 - João Gilberto in Tokyo (Verve)
Que Reste-T-Il De Nos Amours
João Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
Que reste-t-il des billets doux
Des mois d'avril, des rendez-vous?
Un souvenir qui me poursuit sans cesse
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher
Un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Que reste-t-il de nos amours?
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
Que reste-t-il des billets doux
Des mois d'avril, des rendez-vous?
Un souvenir qui me poursuit sans cesse
Bonheurs fanés, cheveux au vent
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher, un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Bonheurs fanés, cheveux au vent
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher, un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Que reste-t-il de nos amours?
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
In the song "Que Reste-T-Il De Nos Amours" by João Gilberto, the singer reflects upon the remnants of a past love. The lyrics explore the nostalgia and longing for what remains of the romantic moments and precious memories. The opening lines, "Que reste-t-il de nos amours? Que reste-t-il de ces beaux jours?" (What remains of our love? What remains of those beautiful days?), convey a sense of melancholy and yearning.
The recurring phrase "Une photo, vieille photo de ma jeunesse" (A photo, an old photo of my youth) emphasizes the significance of a photograph as a tangible reminder of the past. This visual depiction represents the only tangible remnant of their love, something tangible to hold onto. The lyrics continue to express the loss and longing, referencing faded happiness, stolen kisses, and tender dreams that now exist only as memories that persist relentlessly.
The song explores the idea that even though time may have passed, the memories of love and the places where they were shared are still cherished. The lines "Un petit village, un vieux clocher, un paysage si bien caché, Et dans un nuage le cher visage de mon passé" (A small village, an old steeple, a landscape so well hidden, And in a cloud, the dear face of my past) evoke a sense of pastoral beauty and the romanticized memory of a bygone era.
Through its nostalgic lyrics, "Que Reste-T-Il De Nos Amours" captures the universal experience of reminiscing on lost love and the bittersweet feeling of holding onto cherished memories while acknowledging their fleeting nature.
Line by Line Meaning
Que reste-t-il de nos amours?
What remains of our loves?
Que reste-t-il de ces beaux jours?
What remains of those beautiful days?
Une photo, vieille photo de ma jeunesse
A photo, an old photo of my youth
Que reste-t-il des billets doux
What remains of the sweet messages
Des mois d'avril, des rendez-vous?
Of April months, of rendezvous?
Un souvenir qui me poursuit sans cesse
A memory that constantly haunts me
Bonheurs fanés, cheveux au vent
Faded joys, hair in the wind
Baisers volés, rêves émouvants
Stolen kisses, moving dreams
Que reste-t-il de tout cela? Dites-le moi
What remains of all that? Tell me
Un petit village, un vieux clocher
A small village, an old bell tower
Un paysage si bien caché
A landscape so well hidden
Et dans un nuage le cher visage de mon passé
And in a cloud, the dear face of my past
Que reste-t-il de nos amours?
What remains of our loves?
Que reste-t-il de ces beaux jours?
What remains of those beautiful days?
Une photo, vieille photo de ma jeunesse
A photo, an old photo of my youth
Que reste-t-il des billets doux
What remains of the sweet messages
Des mois d'avril, des rendez-vous?
Of April months, of rendezvous?
Un souvenir qui me poursuit sans cesse
A memory that constantly haunts me
Bonheurs fanés, cheveux au vent
Faded joys, hair in the wind
Baisers volés, rêves émouvants
Stolen kisses, moving dreams
Que reste-t-il de tout cela? Dites-le moi
What remains of all that? Tell me
Un petit village, un vieux clocher, un paysage si bien caché
A small village, an old bell tower, a landscape so well hidden
Et dans un nuage le cher visage de mon passé
And in a cloud, the dear face of my past
Bonheurs fanés, cheveux au vent
Faded joys, hair in the wind
Baisers volés, rêves émouvants
Stolen kisses, moving dreams
Que reste-t-il de tout cela? Dites-le moi
What remains of all that? Tell me
Un petit village, un vieux clocher, un paysage si bien caché
A small village, an old bell tower, a landscape so well hidden
Et dans un nuage le cher visage de mon passé
And in a cloud, the dear face of my past
Que reste-t-il de nos amours?
What remains of our loves?
Que reste-t-il de ces beaux jours?
What remains of those beautiful days?
Une photo, vieille photo de ma jeunesse
A photo, an old photo of my youth
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Charles Trenet
Lyrics Licensed & Provided by LyricFind
Cristina Marcolino
Que reste-t-il de nos amours?
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
Que reste-t-il des billets doux
Des mois d'avril, des rendez-vous?
Un souvenir qui me poursuit sans cesse
Bonheurs fanés, cheveux au vent
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher
Un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Que reste-t-il de nos amours?
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
Que reste-t-il des billets doux
Des mois d'avril, des rendez-vous?
Un souvenir qui me poursuit sans cesse
Bonheurs fanés, cheveux au vent
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher, un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Bonheurs fanés, cheveux au vent
Baisers volés, rêves émouvants
Que reste-t-il de tout cela? Dites-le moi
Un petit village, un vieux clocher, un paysage si bien caché
Et dans un nuage le cher visage de mon passé
Que reste-t-il de nos amours?
Que reste-t-il de ces beaux jours?
Une photo, vieille photo de ma jeunesse
Cristian Igor Soto
Grande, Grande!!! No hay palabras, Impresionante interpretación 👏
TheReturnofStephan1
My heart aches with equal parts devastation and recognition of the inevitable.
Thank you, Mr. Gilberto, for your great music.
It will NEVER be forgotten.
JohnnyBoy Chaves
Que coisa linda....Arranjo mágico..🎧🎧🎧🎧🎧🎧🎧🎧🎧🎧🎧❣️
Antônio Diamantino
Maravilhoso!João é inigualavel.
Evandro Henrique
Quanta suavidade!
João Ferreira Pessoa Sobrinho
LINDO!
zeliacrato
Uma obra prima!!!
AAA001Z
quelle émotion de l'écouter chanter en français...
Rogerio Souza
Maravilha!
Rosemary Ventura
Viva a Bossa Nova! Viva o João!