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Madredeus: The Soulful Sound of Lisbon and Portugal

About the Author

Rafael is a passionate art enthusiast and amateur historian with a deep-rooted love for Lisbon. Born and raised in the heart of this historic metropolis, his journey into the world of art and history has led him to become a prolific writer for Lisbon.vip, where he shares his discoveries and insights with a global audience.

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Artist information

Madredeus combines traditional Portuguese music (many times erroneously associated with the subgenre of Fado) with influences of modern folk music. The lyrics are often melancholic and related to the sea or travelling or absence, continuing a tradition of songs that dates back to Medieval times (with obvious relations to cantigas de amigo among others).

The band's founding members were Pedro Ayres Magalhães (classical guitar), Rodrigo Leão (keyboard synthesizer), Francisco Ribeiro (cello), Gabriel Gomes (accordion) and Teresa Salgueiro (vocals). Magalhães and Leão formed the band in 1985, Ribeiro and Gomes joined in 1986. They'd been searching for a female singer, and found Teresa Salgueiro in one of Lisbon's night clubs. Teresa liked their music and agreed to join, so in 1987 Madredeus recorded their first album, Os dias da Madredeus.

The first album was recorded in their rehearsal space, a disused abbey in Lisbon. The recording was especially strenuous due to deafening interruptions every 5 minutes from Lisbon's tram service, which ran directly above. In honour of this unavoidable presence in their every performance, they named themselves after the line's nearby terminus, Madre de Deus (Mother of God), shortened to the vernacular Madredeus.

In 1993, Pedro Ayres Magalhães left the band temporarily and was replaced in live concerts by José Peixoto (classical guitar). Magalhães rejoined the group later, making it a sextet with two guitarists.

They released several albums and became very popular in Portugal, but remained relatively unknown outside the country. This changed in 1994 when Wim Wenders, impressed by their music, asked Madredeus to perform in his movie Lisbon Story - the soundtrack gave the band international fame. Madredeus consequently toured Europe, South America, Africa and Asia.

In 1994 Rodrigo Leão left the band to start a solo career, being replaced by Carlos Maria Trindade (keyboard synthesizer).

In 1997 Francisco Ribeiro and Gabriel Gomes left the band as Madredeus' style started abandoning its fado roots with the release of O Paraíso. At this time Fernando Júdice (Acoustic bass guitar) was invited to join them, to form the current lineup, again a quintet. Madredeus has sold over 3 million albums worldwide.

In 1998 Madredeus contributed "Os Dias São A Noite (Suso Saiz Remix)" to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.

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Madredeus play at the Avo-Session Basel festival

Portuguese Fado

Beatrix Nunes — Vocalist

Pedro Ayres Magalhães — Leader, guitarist

Program notes

The haunting, soulful laments of Portuguese fado have beguiled listeners for centuries… experience this breathtaking traditional music with Pedro Ayres Magalhães’s ensemble Madredeus and singer Beatrix Nunes in a concert filmed live at Avo Session in Basel, Switzerland.

Since its founding in 1985, Pedro Ayres Magalhães’s ensemble Madredeus has offered its audiences a captivating mixture of musical creations that fuse traditional Portuguese music with influences from modern folk music. Enduring despite numerous changes in members and instrumentation, they have always stayed true to their art. In this 2012 concert recorded live at the Musical Theater Basel, they present one of their signature programs, enchanting their listeners with the help of one of the group’s newest members, the singer Beatrix Nunes. They perform classics of their repertoire as well as newer works in an evening that is sure to transport you to their magical and mournful musical world.

Photo: © Dominik Pluess

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Madredeus: Faluas Do Tejo

by Jerry D'Souza September 1, 2005

The story of Madredeus begins in 1986 when Portuguese musicians Pedro Ayres Magalhães and Rodrigo Leao came up with the idea of a guitar-synthesizer combination for their music. They also pulled in an accordion player and a classical cellist. Into this odd mix came Teresa Salgueiro, a nineteen-year-old who was singing fado songs in a bar. The band began rehearsing in a church called Madre de Deus, which became the inspiration for their name. Changes in personnel followed, but Magalhães ...

by Stephen Latessa August 29, 2005

The heart of the music Madredeus creates is the native fado ...

by Franz A. Matzner August 4, 2005

There is a unique pleasure in listening to music in an unfamiliar language. While much meaning is lost, there are nuances in the sounds that would be forsaken if one could translate every word. For those unfamiliar with Portuguese, listening to Faluas Do Tejo provides an acute example of this contradictory experience. This deceptively simple album from Madredeus aches with an exquisiteness derived from the interplay between Teresa Salgueiro's vocals; Pedro Ayres Magalhaes and Jose Peixoto's blended ...

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Faluas Do Tejo

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World Music Central

Artist profiles: madredeus.

Creating a distinctly modern Portuguese sound, Madredeus became one of the most critically acclaimed and commercially successful Portuguese bands in Europe. This Lisbon-based sextet’s music is steeped in Portuguese culture, informed by a wide range of musical influences and prized by audiences throughout Europe, Brazil, and Japan.

In 1985 Pedro Ayres Magalhaes, bassist of Herois do Mar and Rodrigo Leao, bassist of Sétima Legiao, began to mature the idea of making another type of music due to the fatigue caused by their involvement in the Portuguese pop scene.

During a break in the activities of their respective groups, Pedro and Rodrigo joined to rehearse some guitar repertoires. Pedro also presented some lyrics although they lacked a voice. They were joined by accordionist, Gabriel Gomes.

Soon, a cellist who was studying at the Lisbon Conservatory began to collaborate with them. However, they continued to lack a voice, because despite doing continuous auditions, they did not find one that fully satisfied them. One night, Rodrigo and Gabriel visited the Barrio Alto and discovered a young girl who sang a fado at a table with some friends. They immediately established contact. Everyone agreed that it was the voice they were looking for. So they started rehearsing together.

The rigors of winter forced them to look for a more welcoming place and that is how they ended up rehearsing in the convent of Madre de Deus, in Xabregas, east of Lisbon. During 1987, Madredeus’s essays gradually transformed into a gathering of friends and musicians in which opinions and ideas were shared. The group remained nameless so those who frequented the rehearsals began to call them “Madredeus”.

Meanwhile, Pedro Ayres began to tempt the label with which he released the records of his previous group, with some recordings by the new group. At the same time, Rodrigo Leao began to experience a new sound, that of the synthesizer. His first work was recorded in the same rehearsal place. To make little noise the musicians played barefoot and had to stop the recording every time a heavy vehicle passed by, due to the noise. On November 30, the album was presented.

From there on, instrumental arrangements inspired by tradition, that sought to revive the interest and taste for the Portuguese language began to have more and more followers.

The first week of December of that year “Os Dias da Madredeus” was released. The album immediately became an assiduous presence on radios and newspapers and began to be an obligatory reference of Portuguese music.

In 1988, the group began to be constantly requested for more concerts in Portugal. That year was very important in consolidating the group in its own country. The following year, they had exceeded all initial expectations.

Two years later, Madredeus recorded the album Existir. For the first time in a studio. At that time they met Antonio Pinheiro da Silva who would continue with them as a producer on their first albums.

In 1991 they gave their first concert in Spain, where they would reap great successes. That same year, they recorded their first live work, Lisbon. EMI reissued the second work album. In 1992 and in 1993 they had already traveled throughout European countries, America and Japan.

In 1994, after a short break after the frenzied activity of the previous year, the band started a relationship with Wim Wenders who was preparing a film about Lisbon, and wanted to use some Madredeus songs in the soundtrack. They flew to England to record some songs, and decided, to the delight of Wim Wenders, to create some of them expressly for the film. They came back with two albums instead of one. So the first of them was published in the spring under the title Espírito da Paz.

After several concerts, performing in places of great prestige, Rodrigo Leao left the group to dedicate himself to his solo career and was immediately replaced by Carlos María Trindade. He accompanied Madredeus on a long tour of Spain. Then they traveled around the world carrying their music. At the end they presented the songs of the soundtrack of the film in an album, the second that year, titled Ainda.

1996 was a year in which concerts and breaks and conversations were interspersed. A year later, Gabriel Gomes and Francisco Riveiro left the group. Bassist Fernando Judice replaced them. It was a new group that marked a new stage in the career of Madredeus.

In 1998 they recorded live O Paraiso, a trip throughout its musical career. During these two years they resumed their tours and continued to be successful all over the world.

Then came “ Antologia “, a disc composed of travel notes brought from around the world. Images of moments, snapshots of emotions, some of Madredeus’ songs, built on dreams and landscapes, hopes and longings.

In November 2007, longtime vocalist Teresa Salgueiro left Madredeus.

In April 2012 Madredeus released Essencia and announced too its new lineup, featuring Beatriz Nunes (vocals), Pedro Ayres de Magalhães (guitar), Carlos Maria Trinidade (synthesizer), Jorge Varrecoso (violin), Antonio Figueirido (violin) and Luis Clode (cello).

Discography:

Os Dias Da Madredeus (EMI, 1987) Existir (EMI, 1990) Lisboa (EMI, 1992) O Espírito Da Paz (EMI, 1994) Ainda (EMI, 1995) O Paraíso (EMI, 1997) O Porto (EMI, 1998) Movimento (EMI, 2001) Euforia (Capitol Records, 2002) Electronico (Capitol Records, 2002) Um Amor Infinito (EMI, 2004) Faluas Do Tejo (EMI Music Portugal, 2005) Essência (Éter, 2012) Capricho Sentimental (Éter, 2015)

Author: Angel Romero

Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com . In addition, Angel is the co-founder of the Transglobal World Music Chart , a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.

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Past MADREDEUS Events

Mon 16 Apr 2012 MADREDEUS Barbican Hall, London

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Madredeus Concert Setlists & Tour Dates

Madredeus at portugal ao vivo 2013.

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Madredeus at AVO Session Basel 2012

• Vem (Além de toda a solidão)
• Ao longe o mar

Madredeus at Konzerthaus, Dortmund, Germany

Madredeus at festival rio loco 2012, madredeus at centro de artes e espectáculos, figueira da foz, portugal, madredeus at kościół św. marii magdaleny, wrocław, poland, madredeus at aula magna de la universidad central de venezuela, caracas, venezuela, madredeus at teatro municipal jorge eliécer gaitán, bogota, colombia, madredeus at festival de la guitarra de córdoba 2006, madredeus at zócalo de la ciudad de méxico, mexico city, mexico.

• Ó luz da alegria
• Cantador da noite
• Uma estátua
• Um amor infinito
• Palavras ausentes (Junto a ti)
• Vislumbrar - O canto encantado
• Moro em Lisboa
• Os males do mundo
• Faluas do tejo
• Ao crepusculo onde e que esta o meu amor?
• O olival - A passo, a trote e a galope

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Most played songs

• O sonho ( 3 )
• Oxalá ( 3 )
• Vem (Além de toda a solidão) ( 3 )
• A andorinha da primavera ( 2 )
• A tempestade ( 2 )

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About Madredeus

Internationally renowned Madredeus rework elements of Portugueses Fado and folk song to create a music wholly its own - a Portuguese gothic soundworld.

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Report on the band Madredeus on the occasion of a French tour. The band, whose name is taken from a neighborhood in Lisbon, Madre de Deus, plays a mix of fado, folk and popular music which is now internationally renowned. Concert excerpts, interview with band founder and guitarist Pédro Magalhes, and song by Teresa Salgueiro, singer.

• Music > Traditional music
• Europe > France
• Europe > Portugal

Created in 1985 by the guitarist Pedro Ayres Magalhães and the pianist Rodrigo Leão, the Portuguese group Madredeus, originally made up of Francisco Ribeiro on the cello, Gabriel Gomes on the accordion and the singer Teresa Salgueiro, were soon noticed for the uniqueness of their lucid and invaluable songs, mixing in an eternal style of classic sophistication, traditional folklore, fado and popular contemporary music.

From the release of their first album in 1987 Os dias da Madredeus the Portuguese public were won over by the crystalline purity of Salgueiro's voice as well as the quality of the compositions and orchestrations that came within the scope of fado tradition yet considerably renewed the style. Their second album Elixir appeared in 1990, but it was especially their participation in the soundtrack of the Wim Wenders film Lisbon Story (1995), allowing them to obtain international renown. Following several reshuffles in the group (Leão's departure followed by Riberio and Gomes), Madredeus would, from the album O Parciso (1997) progressively distance themselves from the original fado to begin to mix music from other parts of the world.

Always carried by the exceptional voice of Teresa Salgueiro, the group would record four more albums in the new millennium ( Movimento (2001), Faluas do tejo (2005)) before the singer finally announced in her turn, in 2007, a desire to follow a solo career.

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Daniel bilalian, louis carzou, pedro magalhes.

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