Jalat jäi Karjalaan wrote:Runoudesta en sano mitään, mutta sovituksen mahtipontisuus biison edetessä ansaitsee erityismaininnan.harry-irene wrote:sit ei tainnut keskittyminen riittää kuin ekaan kolmannekseen? sen jälkeenhän päästetään rogerio dupratin orkkasovitukset valloilleen, ja taivas räjähtää. tekstinä vielä täyttä noobeltason runoutta joka kylmää selkäpiitä, niin a vot!Spicoli wrote:Aika mitään sanomaton biisi oli :/ Kiva rytmi kyllä.harry-irene wrote: mut chico itse itse kiittää, kun yli puolentoista vuojen venailun jälkeen joku tajusi laittaa hältä 10 kertaa paremman biisin
lisäksihän kyseessä on koko viisuhistorian upein teos, joten ei mitään syytä pettyä mihinkään, päinvastoin.
Piffi tarvitseekin runousopin kurssin! Sillä kuten eräätkin kommentoijat alla olevilla Konstrusauta puivilla sivuilla todistavat: "I translate Portuguese into English for a living, and Construção stands as an impossibility. It really is an extraordinary song, and it is a pity that it defies decent translation."
"This music is impossible. I'm quitting my job and giving up the theater to dedicate my life to understanding this music."
Kyseessä on siis sekä formaalisesti huikea sanapeli että koskettava kuvaelma teollistuvan Brasilian ongelmista JA vielä ovelasti sensoreilta piilotettu kritiikki silloista sotilasdiktatuuria kohtaan. Biisin aikana ei tiedä pyörtyäkö ihastuksesta sen taidokkuuden vuoksi vai puida nyrkkiä ilmassa solidaarisuuden merkkinä vai purskahtaa vain itkuun.
Otetaan aluksi se muotokieli alta pois:
Geddit? Siksipä Brasiliassa ei esim ole mahdollista valmistua äidinkielen maisteriksi ilman syventäviä Chico-opintoja..The text has forty-one lines of twelve syllables, all of which end in proparoxytone, that is, a word stressed on the antepenultimate syllable. A pattern of preterites organizes the text as two series of quatrains and a sextain comprised of verses from each of the four quatrains, with both series and sextain followed by an isolated single-line refrain. The strophes of the two series are differentiated only by the changing of the line-final word. Four new words are introduced in the second series, and the words used in the first now modify a different line. In the sextain, there is another substitution or switch at the end of each line
Lopulta päästään kunnon tulkintoihin:The metric matter is important because it clearly marks the song's rythmn, and the use of words that are stressed two syllables before the end of each line gives them a sense of harmonic continuity, which wouldn't happen if the last words were oxitone. For a native portuguese-speaker, it's kinda intuitive. But, in my opinion, the funniest thing about the lyrics is the fact that, in a progressive way, the three stories get completely distinct from each other by only switching the last words. I consider these stories the same, but in the first paragraph, it's told in a very linear way; in the second, it starts to get lost and subjective (as the arrangement gains strenght); and in the third, it's totally broken, almost psychedelic.
What do I think the meaning is: all 3 paragraphs speak of a man falling from the top of a building under construction and I tend to belive they are 3 different men under 3 different circumstances.
The first, a man who loves his family and tries to get the best from his hard life, but life itself is too hard for him. As he tries to deny reality, he stumbles and falls accidently (as he dances, so, as he was trying to cheer himself up), dying in the street. But as the last verse says, for everybody else, his death means nothing but a dead body disturbing the traffic.
The second man seems to drink and cheat on his wife/woman; I´m not sure what´s the meaning of the fact that the walls are "magic" - is the construction imaginary? Maybe he isn´t even a worker there, he just climbed it to eat and drink and ended up falling - accidently like the first one, but for being drunk. Maybe falling from a construction is just a metaphore, for all I care. Anyway, he dies in a "shy" manner, which seems to disturb the public ("the crowd"). Were they expecting some spectacle?
The third man seems completely numb. He loves like a machine, kisses his woman because it seems right, builds flabby walls (maybe for doing things so "auto-pilot"), falls and dies disturbing people´s saturday, when they should only be concerned about resting.
The additional verses could be related with the military dictatorship in Brazil, in which people were forced into a hard life with no freedom and always threatened. Many people were tortured and "disappeared" during that time for being against the regime, so Chico, ironicly, thanks them for letting him live his life - full of misery, like the common men who die falling from the construction -, but enphasizing, "the last thing I can believe is that there will be some sort of divine justice. May God pay you back for what you´ve done".
Anyway, it´s a trully amazing song, really hard to translate and even harder to analyze, but
3. Another interesting angle is the fact that, just a few years after the heyday of bossa nova in Brazil, and while bossa nova was becoming so popular around the world, this song can be thought of as a powerful critique of it. After the 1964 coup, the breezy hipness of bossa nova was thought by many to no longer resonate with more radical times.
Bossa nova was sometimes described as "apartment building samba," coming from the high-rise apartment buildings in richer beachfront neighborhoods like Ipanema. Then Buarque comes along and writes a song that begins like a bossa, but it is joyless and mechanistic. Then it turns noir, and tells the story of an alienated worker who falls off of the building he is helping build but will never be able to enter after it's done.
It happens on a Saturday, which is a white-collar day off but not for manual laborers, and when he falls from the scaffolding into the street, the middle-class only cares about the traffic jam his death causes, preventing them from getting to the beach. It's a sweatshop-style argument that uses bossa nova sounds in order to indict the genre, and the upper-middle class associated with the genre.
4. Critics have talked about the question of whether he fell off the scaffolding, or whether he jumped. It gives me shivers that Buarque embeds the answer to that question in the vocal melody itself, which, if you convert the rhythm into footsteps, implies that the construction worker desperately ran several steps before jumping. The proparoxytones on descending pitches can be heard as the moment of his fall, over and over.
https://en.wikipedia.org/wiki/Constru%C ... A3o_(song)The first verse is a more straightforward story of the last day of a construction worker’s life. Musically, it has a stark, joyless bossa base. There is a contemplative space between the sung lines for the events to sink in.
“As if it were” (como se fosse) acts like a steel girder through the middle of each line. The words at the ends of the phrases end up being treated like bricks, their order moved around from verse to verse, scrambling the meaning.
The moment that the construction worker falls into the street, everything changes musically. Dissonant horns sound the traffic jam below, and the music becomes urgent, huge and cinematic.
The story is no longer about an individual, and is now about the surrounding city as well. See the change in how the word “shipwrecked” is used:
Verse 1: He drank and wept as if he were shipwrecked
Verse 2: He agonized in the middle of Shipwreck Boulevard
At the same time, the narrative becomes more jumbled and poetic. Things are coming undone. The rearrangement of last words reinforces this.
Verse 1: On the scaffolding he built four solid walls
Verse 2: On the scaffolding he built four magic walls
Verse 3: On the scaffolding he built four flaccid walls
In the last verse, the harmony vocals become more dense and dissonant, while the contemplative space between the sung lines disappears. The construction is imploding.
In the transition from construção to deus lhe pague, the orchestra is almost mocking.
The upper-middle class numbness to injustice is reinforced by the lyrics of the adjoining song Deus lhe pague, which bitterly uses a kind of prayer to “thank” the haves for the crumbs they give (and refuse to give) the have nots.
https://www.metafilter.com/128169/Brick ... -and-tears
http://songmeanings.com/songs/view/3530822107858580220/
Ihanaa eikö totta! Nyt onkin kaikille antoisampaa ottaa tämä mestariteos uuteen, kärsivällisempään käsittelyyn:
