MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, whi… Read Full Bio ↴MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, which devoted its activities to MPB (where commercial aspects were subordinate to the group's artistic standards). They reinvented the Brazilian vocal groups with their jazz free style focused on samba and also launched the careers of several soon-to-be masters of Brazilian music, such as Aldir Blanc (with his "Amigo É Pra Essas Coisas" with Sílvio da Silva Jr.). Having recorded more than 30 albums since 1964, many of them of utmost historical and artistic significance, they had a considerable part of this production released in countries like the U.S., Norway, Canada, Japan, Portugal, Mexico, Argentina, and others. The group was awarded with the Sharp prize as the best MPB group in 1987, 1989, and 1995. In 2001, MPB-4 completed a 36-year career with the same formation (registered in the Brazilian edition of the Guinness Book of Records of 1996).

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

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Lamento
MPB-4 Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Não posso esquecer
O teu olhar
Longe dos olhos meus

Ai, o meu viver
É de esperar
Pra te dizer adeus

Mulher amada
Destino meu

É madrugada
Sereno dos meus olhos já correu

Overall Meaning

In MPB-4's song Lamento, the lyrics express the pain and sorrow of a person who is being forced to say goodbye to their loved one. The first lines of the song "Não posso esquecer o teu olhar" (I can't forget your gaze) convey the intense and deep connection between the two individuals. The second line, "Longe dos olhos meus" (Far from my eyes), indicates that they are now physically separated from each other, and this distance is causing a lot of anguish and despair. The subsequent lines "Ai, o meu viver é de esperar, pra te dizer adeus" (Oh, my life is waiting to tell you goodbye) suggest that the singer's life has been meaninglessly halted, as the only purpose they had was to love and be with their partner. The final lines of the song, "Mulher amada, destino meu, é madrugada, sereno dos meus olhos já correu" (Beloved woman, my destiny, it is dawn, the dew has already run away from my eyes) summarizes the emotions of the singer, that their destiny lies in the hands of their loved one, and time is running out.

Line by Line Meaning

Não posso esquecer
It's impossible for me to forget

O teu olhar
The way you looked at me

Longe dos olhos meus
Now that you're away from me

Ai, o meu viver
Oh, my life

É de esperar
Is all about waiting

Pra te dizer adeus
To say goodbye to you

Mulher amada
My beloved woman

Destino meu
My destiny

É madrugada
It's dawn

Sereno dos meus olhos já correu
The serenity in my eyes has already faded away

Contributed by Stella W. Suggest a correction in the comments below.