Nelson Cavaquinho was in fact born one year after the date consigned on his birth certificate (October 28, 1910). His father, Brás Antônio da Silva (a tuba player from the military police band of Rio), worried about the precocious signs of a dedicated Bohemian, changed the certificate so he could enlist in the Army one year sooner. He was born in the São Cristóvão neighborhood in Rio. At eight, he moved with his family to Lapa. Soon after, he abandoned the junior high school to go to work. Nine years later, he moved again with his family to a blue-collar neighborhood in Gávea, where he began to play the cavaquinho in the local rodas de choro, where he got the nickname. His first choro compositions date from that period, when he also enrolled with the military police (at 19), due to his father's insistency. He got married the next year and moved to the Brás de Pina neighborhood, but his marriage lasted for only a short period, due to his Bohemian habits.
By and by, he began to frequent the rodas de samba in the hills when he wrote his first song, "Entre a Cruz e a Espada." Becoming acquainted with Cartola, wrote some sambas with him, but the partnership ended when Cavaquinho sold one of those songs. He also became friends with many of the hills' composers, but very few of his partners participated in the composition of Cavaquinho 's sambas. As a Bohemian, he used to give partnerships of his songs in exchange for a hotel room for the night (as he did many times at the Hotel Brasil), a dish of food, or even a night of love. In spite of his always being cherished by women in the bars he frequented, most of Cavaquinho 's "partners" were hotel or bar owners or pimps. In 1938, Cavaquinho left the police and became a mason like Cartola. His first samba to be recorded was "Não Faça Vontade a Ela" (with Rubens Campos and Henricão), by Alcides Gerardi in 1939. Ciro Monteiro, a highly popular artist, began to record his songs in 1943 with "Apresenta-me Aquela Mulher" (with Augusto Garcez/Gustavo de Oliveira), followed by "Não te Dói a Consciência" (with Ari Monteiro); in 1945, he recorded "Aquele Bilhetinho" (with Augusto Garcez/Arnô Canegal), all for Victor. In 1946, he recorded Cavaquinho's first big hit, "Rugas" (with Augusto Garcez/Ari Monteiro). Instead of jumping on the success and opening his way into radio, which represented the big avenue for fame and money, he continued to show new songs in rodas de samba. In 1952, he moved to Mangueira. In 1954, Roberto Silva recorded "Notícia" (with Alcides Caminha/Nourival Bahia).
In 1955, he started a long (30 years) and fruitful partnership with Guilherme de Brito, his most constant and important partner. They settled a pact of musical fidelity, which was broken a couple of times (one was in the song "Rei Vagabundo" with José Ribeiro) by Cavaquinho, under alcohol's effluviums. In that same year, Cavaquinho came out with "Cinzas" (with Guilherme de Brito and R. Gaetani); in 1956, he had "Pranto de Poeta" (with Guilherme de Brito); and, in 1957, his masterpiece "A Flor e o Espinho" (with Guilherme de Brito and Alcides Caminha). Caminha was broadly known in Brazil as an erotic cartoonist who signed under the pseudonym of Carlos Zéfiro. His only participation in the song was the amount paid by him, three contos de réis. According to Guilherme de Brito, when there was anyone other than him and Cavaquinho on one of their songs, the person paid to be included in the credits. In 1961, Roberto Silva recorded "Degraus da Vida" (with Antônio Braga and César Brasil, through Copacabana). In the next year, together with Zé Keti, Paulinho da Viola, and Jair do Cavaco, he formed the samba group A Voz do Morro, which would generate a famous show in 1968 by Elton Medeiros and Paulinho da Viola. When Cartola opened his restaurant/nightclub Zicartola, Cavaquinho began to perform for audiences. In 1964, he also performed in the important show Opinião and Nara Leão recorded his "Luz Negra" (with Hiraí Barros) for her opening album, Nara. In the next year, he played violão on Maria Bethânia's opening album on the track "Feiticeira." "A Flor e o Espinho" was recorded in the same year by Elizeth Cardoso on her famous Elizete Sobe o Morro. He also recorded "Luz Negra" in 1966 (with Amâncio Cardoso), a year in which CBS released an LP with only his compositions and three of his interpretations. Three years later, Leon Hirzman shot a short-subject documentary about him, Nelson Cavaquinho. In 1968, he and the samba masters Clementina de Jesus, Cartola, and Carlos Cachaça, recorded the LP Fala Mangueira (Odeon), which was never released on CD. His first solo LP came only in 1970, Depoimentos do Poeta, for Castelinho, and was reissued on CD by Continental.
Later, his "Folhas Secas" (with Guilherme de Brito) was re-recorded by Elis Regina. The song would also be re-recorded by Beth Carvalho, with whom Cavaquinho toured Brazil in the Pixinguinha project. In 1973 and 1974, he recorded other solo albums for Odeon. In 1974, Eduardo Gudin, Paulo César Pinheiro, and Márcia opened the show O Importante é que a Emoção Sobreviva, which was recorded live and released on an eponymous LP containing Cavaquinho's "Tatuagem." In the same year, he played his characteristic and rude violão in Beth Carvalho's Pra seu Governo, on "Miragem." The following year, she recorded the old master again on her Pandeiro e Viola, both for ABW. In 1977, Cavaquinho recorded Os Quatro Grandes do Samba with Elton Medeiros, Candeia, and Guilherme de Brito. In 1985, he was paid tribute in Mangueira at an event where the album Flores em Vida was presented. The album had his compositions interpreted by Chico Buarque, Paulinho da Viola, Christina Buarque, João Bosco, Rafael Rabello, Beth Carvalho, Toquinho, Carlinhos Vergueiro, and others. Cavaquinho also plays violão and sings on three tracks. Cavaquinho continued to live this way until he died of pulmonary emphysema. In 1995, Leny Andrade interpreted his songs on Luz Negra (Velas), a year in which Wayne Shorter, Wallace Roney, Guilherme Vergueiro, Mads Vinding, Robertinho Silva, and Raul de Souza interpreted his songs at São Paulo's Heineken Concerts. In 1996, Zizi Possi recorded his "Juízo Final" (with Élcio Soares) for her Mais Simples, and the compilations Quando eu me Chamar Saudade (EMI) and Nelson Cavaquinho (RCA Victor) were released. In 1998, Nelson Gonçalves recorded "Quando eu me Chamar Saudade" (with Guilherme de Brito) on his Quando a Lapa era Lapa, and Jair Rodrigues also recorded the old sambista on his Jair de Todas as Bossas. In 1999, the label EMI released a compilation of his works on the Raízes do Samba series. In 2000, Flávio Moreira da Costa released the book Nelson Cavaquinho -- Enxugue os Olhos e me dê um Abraço, and Ricardo Cravo Albin presented the show Cavaquinho -- 90 Anos. In the same year, the Banda Mantiqueira presented a selection of his works at the 31o. Festival de Inverno de Campos do Jordão, and the series A Música Brasileira Deste Século por seus Autores e Intérpretes was released, bringing the transcription of 25 of producer Fernando Faro's 400 interviews and TV specials, which include the ones done with Nelson Cavaquinho. Marisa Monte recorded his "Gotas de Luar" on her Memórias, Crônicas e Declarações de Amor. The important compilation Mangueira -- Sambas de Terreiro e Outros Sambas, with Cavaquinho and other bambas, was also released that year. In the same year, the Quinteto em Branco e Preto recorded "Pranto de Poeta" (with Guilherme de Brito). ~ Alvaro Neder, All Music Guide
Folhas Secas
Nelson Cavaquinho Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Caídas de uma mangueira
Penso na minha escola
E nos poetas da minha Estação Primeira
Não sei quantas vezes
Subi o morro cantando
Sempre o sol me queimando
Quando o tempo avisar
Que não posso mais cantar
Sei que vou sentir saudade
Ao lado do meu violão
Da minha mocidade
Quando eu piso em folhas secas
Caídas de uma mangueira
Penso na minha escola
E nos poetas da minha Estação Primeira
Não sei quantas vezes
Subi o morro cantando
Sempre o sol me queimando
E assim vou me acabando
E assim vou me acabando
E assim vou me acabando
E assim vou me acabando
"Folhas Secas" is a poignant and reflective song by Nelson Cavaquinho that explores themes of nostalgia, memory, and the passage of time. The lyrics evoke a sense of longing and melancholy as the singer walks over dry leaves fallen from a mango tree. This simple act triggers a flood of memories, particularly those associated with his school days and the poets of his beloved Estação Primeira (First Station).
The lyrics suggest that the singer has climbed the hill countless times, singing along the way, always under the scorching sun. This imagery symbolizes the endurance required to navigate the challenges and hardships of life. However, as time passes, the singer acknowledges that there will come a time when he can no longer sing. He knows that he will feel nostalgia, longing for the moments spent with his guitar and his youthful days.
The repetition of the phrase "E assim vou me acabando" at the end of the song emphasizes the gradual decline or eventual fading away of the singer's existence. The lyrics encapsulate a sense of acceptance of the passage of time, the inevitability of aging, and the loss of youthful vigor. Despite the somber tone, there is also a bittersweet appreciation for life's experiences and the memories that remain.
Line by Line Meaning
Quando eu piso em folhas secas
When I step on dry leaves
Caídas de uma mangueira
Falling from a mango tree
Penso na minha escola
I think of my school
E nos poetas da minha Estação Primeira
And the poets of my Estação Primeira
Não sei quantas vezes
I don't know how many times
Subi o morro cantando
I climbed the hill singing
Sempre o sol me queimando
Always the sun burning me
E assim vou me acabando
And so I go on finishing myself
Quando o tempo avisar
When the time warns
Que não posso mais cantar
That I can no longer sing
Sei que vou sentir saudade
I know I will miss
Ao lado do meu violão
Beside my guitar
Da minha mocidade
Of my youth
E assim vou me acabando
And so I go on finishing myself
E assim vou me acabando
And so I go on finishing myself
E assim vou me acabando
And so I go on finishing myself
Lyrics © O/B/O APRA AMCOS
Written by: Nelson Cavaquinho, Guilherme De Brito
Lyrics Licensed & Provided by LyricFind
Maria Pinto
Quando eu piso em folhas secas
Caídas de uma mangueira
Penso na minha escola
E nos poetas da minha estação primeira
Não sei quantas vezes subi o morro cantando
Sempre o sol me queimando
E assim vou me acabando.
Quando o tempo avisar
Que não posso mais cantar
Sei que vou sentir saudade
Ao lado do meu violão
Da minha mocidade
Folhas Secas – Nelson Cavaquinho
ADAMASTOR PITÁGORAS
Com certeza há um lugar no céu reservado só para essas feras... Nelson do Cavaquinho... Simplicidade, talento e carisma... Canção muito bonita... "Quando o tempo avisar que eu não posso mais cantar..."... Esses são os verdadeiros poetas da Estação Primeira e de todos os lugares do nosso país... Artistas que não tem Camaro, botas de 800 mil, nem fazendas... porém que são a própria riqueza em pessoa para a cultura da nossa nação... Quando será que começou o culto a porcaria???.... E a coisa está degringolando... Nessas horas recorremos a agradecemos as postagens de videos como esses....
Luciano Silva
Sou do Rio e sempre vou na Mangueira. Você precisa ver o desastre cultural que aquele lugar se tornou. E só de pensar que esses gênios da música morreram pobres em casas que mais pareciam barracos.
SiRo
Falou tudo amigo, mais nada a acrescentar !
Maria Pinto
Quando eu piso em folhas secas
Caídas de uma mangueira
Penso na minha escola
E nos poetas da minha estação primeira
Não sei quantas vezes subi o morro cantando
Sempre o sol me queimando
E assim vou me acabando.
Quando o tempo avisar
Que não posso mais cantar
Sei que vou sentir saudade
Ao lado do meu violão
Da minha mocidade
Folhas Secas – Nelson Cavaquinho
Laís Cerqueira
Feliz, feliz ao ouvir esta poesia em forma de canção!
Roberto Lima
meus parabens, subiu a mangueira fardado para fazer uma ronda,e se enturmou com a galera, e desceu de cavaquinho, um dos bambas do samba.
jeferson santos
A melancolia em forma de samba nos faz encher o peito de coragem para continuar a lutar para não deixar a peteca cair apesar da vergonha moral ...política e cultural que este país vive ... O Samba tem o poder de criticar ..afagar e encorajar ..Salve a Majestade O Samba - "Samba a gente não perde o prazer de cantar "❤🎤
Charles Anderson
Na moral dá até vontade de chorar ouvindo isso,confesso que uma lágrima tentou cair! rsrss
Thales moreira
Isso sim é uma poesia
Silvana Pastana
São músicas que tocam nossas almas, divinas.