In 1963, a trio formed by Rui Alexandre Faria (Rui, the lead vocalist), Aquiles Rique Reis (Aquiles), and Milton Lima dos Santos (Miltinho) in Niterói (Rio de Janeiro) started to perform at the Popular Center of Culture (CPC) of the National Student League (UNE). The CPC of Niterói was founded in Aquiles' home. At the same time, Magro (Antônio José Waghabi Filho) had a bossa nova group with Miltinho and a flutist, bassist, and drummer, called MPB-5. With Magro (the group's lifelong musical director) invited to join the original vocal trio, the quartet became known as Quarteto do CPC. With the extinction of the CPC (and of the UNE) after the military coup in 1964, the group adopted the name of MPB-4, playing in local bars and doing a double single with the first recording of Zé Kéti/Elton Medeiros' "Mascarada" with "Samba Bem" (Luís José) and other songs.
With all of them as college students, they took a period of vacations in 1965 to go to São Paulo, where they did their professional debut at the Pontifícia Universidade Católica's Theater (Tuca). They met producer Chico de Assis and were invited by him for a season with Quarteto em Cy (which was already professional), on the condition that they abandon other aspirations to devote themselves full-time to their group. Deciding for the music, they opened with Quarteto em Cy at the show No Samba Que Eu Vou, when they met Chico Buarque, also introduced to them by de Assis. From 1969 to 1974, Buarque was almost the fifth member of MPB-4 as all of his shows were with the quartet. Together they toured several countries and were deeply influential on the Brazilian youth. de Assis also introduced them to Manoel Carlos, who was one of the directors of the O Fino da Bossa TV Record show hosted by Elis Regina. MPB-4 participated right on the first show singing together with Regina, which was their definitive consecration.
Back in Rio, they participated in the show Contraponto, together with Quarteto em Cy, Oscar Castro-Neves, and Rosinha de Valença. At the Opinião theater, MPB-4 participated in the historic show O Samba Pede Passagem with Aracy de Almeida, Baden Powell, Ismael Silva, and others. The show was recorded live and released in June 1966 as O Samba Pede Passagem. Also in 1966, they released their first LP, which had the first recording for Buarque's "Olê Olá." Having participated in Nara Leão's show Quem Tem Medo de Nara Leão?, in the same year they defended "Canção de Não Cantar" (Sérgio Bittencourt) at the II Festival de Música Popular Brasileira (Festival of Brazilian Popular Music, FMPB, TV Record of São Paulo), which won fourth place. In the next year's edition of the same festival, the group was consecrated definitively with "Gabriela" (Maranhão) and "Roda Viva" (Buarque), achieving, respectively, sixth and third places. Also in 1967, they participated in the II FIC (International Song Festival, TV Globo, Rio) with "O Sim Pelo Não" (Alcivando Luz/Carlos Coquejo) and "Cantiga" (Nelson Motta/Dori Caymmi), which reached sixth and ninth places. In 1968, they opened a show shared with Buarque at the Teatro Toneleros, and also had a season in São Paulo. Three years later, they did the historic show Construção at the Canecão with Buarque, Jacques Klein, and the Orquestra Sinfônica Brasileira (Brazilian Symphony Orchestra) conducted by Isaac Karabtchevski. In the next year, MPB-4 toured Portugal and in 1973, Buenos Aires, Argentina, both with Buarque. In 1975, they participated, with Buarque, in the show República de Ugunga. In 1980, the group released, together with Quarteto em Cy, the children's LP Flicts/de Ziraldo e Sérgio Ricardo. Recording another children's LP in the next year with "O Pato" (Toquinho/Vinicius de Moraes), they had the song presented in the TV Globo musical A Arca de Noé. The LP Caminhos Livres (1983) had another of their hits with an Aldir Blanc song, "A Nível De..." (with João Bosco). In 1991, the quartet launched another of their themed albums, the CD Sambas da Minha Terra, dedicated to the works of Dorival Caymmi, Toquinho/Vinícius, Zé Kéti, and Ary Barroso, among others. Always doing shows and recording frequently, the group commemorated their 30-year career in 1995 with the show Arte de Cantar and the eponymous album. ~ Alvaro Neder, Rovi
Sites: MusicBrainz & Discogs.
Corcovado
MPB-4 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Este amor, uma canção
Pra fazer feliz a quem se ama
Muita calma pra pensar
E ter tempo pra sonhar
Da janela vê-se o Corcovado
Quero a vida sempre assim com você perto de mim
Até o apagar da velha chama
E eu que era triste
Descrente deste mundo
Ao encontrar você eu conheci
O que é felicidade meu amor
O que é felicidade, o que é felicidade
These lyrics capture a serene and romantic scene where the singer describes a simple yet blissful moment shared with their loved one. The opening lines, "Um cantinho e um violão / Este amor, uma canção / Pra fazer feliz a quem se ama" (A corner and a guitar / This love, a song / To make the one we love happy), evoke an intimate setting where the singer and their partner can find solace and joy in each other's company.
The following lines, "Muita calma pra pensar / E ter tempo pra sonhar" (Plenty of calmness to think / And time to dream), speak to the importance of taking time to reflect on thoughts and indulge in dreams, suggesting that this peaceful environment fosters a sense of tranquility, enabling personal introspection and the exploration of aspirations.
The mention of the Corcovado and the Redentor (Christ the Redeemer statue) in the lyrics, "Da janela vê-se o Corcovado / O Redentor que lindo" (From the window, one can see Corcovado / The beautiful Redeemer), suggests that this idyllic scene takes place in Rio de Janeiro, Brazil, known for its iconic landmarks. The singer finds beauty in this backdrop as they appreciate the awe-inspiring sight of the Corcovado and marvel at its magnificence.
Expressing their desire for a life shared with their loved one, the lyrics state, "Quero a vida sempre assim com você perto de mim / Até o apagar da velha chama" (I want life to always be like this with you close to me / Until the old flame fades away). The singer longs for a future full of happiness and companionship, emphasizing their hope to maintain this love and connection throughout their lives.
The final lines, "E eu que era triste / Descrente deste mundo / Ao encontrar você eu conheci / O que é felicidade meu amor / O que é felicidade, o que é felicidade" (And I, who was sad / Disbelieving in this world / Upon finding you, I discovered / What happiness is, my love / What happiness is, what happiness is), reveal a significant transformation in the singer's life. They express how meeting their partner has brought them newfound happiness and restored their faith in the world, highlighting the profound impact that love and companionship can have on one's sense of well-being and fulfillment.
Line by Line Meaning
Um cantinho e um violão
A small corner and a guitar
Este amor, uma canção
This love, a song
Pra fazer feliz a quem se ama
To make the person you love happy
Muita calma pra pensar
Plenty of calmness to think
E ter tempo pra sonhar
And have time to dream
Da janela vê-se o Corcovado
From the window, one can see the Corcovado
O Redentor que lindo
The beautiful Redeemer
Quero a vida sempre assim com você perto de mim
I want life always like this, with you near me
Até o apagar da velha chama
Until the old flame fades away
E eu que era triste
And I, who was sad
Descrente deste mundo
Distrustful of this world
Ao encontrar você eu conheci
When I found you, I discovered
O que é felicidade meu amor
What happiness is, my love
O que é felicidade, o que é felicidade
What happiness is, what happiness is
Lyrics © Universal Music Publishing Group
Written by: Antonio Carlos Jobim
Lyrics Licensed & Provided by LyricFind