Fado

Portuguese guitar

The word fado possibly comes from the Latin word fatum[4] ("fate", "death" or "utterance"[5]). The word is linked to the music genre itself, although both meanings are approximately the same in the two languages. Nevertheless, many songs play on the double meaning, such as the Amália Rodrigues song "Com que voz", which includes the lyric "Com que voz chorarei meu triste fado" ("With what voice should I lament my sad fate/sing my sad fado?").[6]

The English-Latin term vates, the Scandinavian fata ("to compose music") and the French name fatiste (also meaning "poet") have been associated with the term fadista.[7][8]

Fado appeared during the early 19th century in Lisbon, and is believed to have its origins in the bohemian areas of the capital such as Bairro Alto, Mouraria and Alfama districts. A totally different theory about the origin of fado was defended by Brazilian musical critic José Ramos Tinhorão, who said that fado was brought into Portugal by the hands and craft of a mixed-race Brazilian musician called Domingos Caldas Barbosa in the mid 18th century. There are numerous theories about the origin of fado. Some trace its origins or influences to the Medieval "cantigas de amigo" (song of a friend), some suggest some ancient Moorish influence and others point to the chants of Africans (enslaved?) sailing at sea, but none is conclusive. It possibly evolved and formed, from a mixture of several older musical genres.[9]

Fado performers in the middle of the 19th century were mainly from the urban working-class, namely sailors, bohemians and courtesans in popular taverns, who not only sang but also danced and beat the fado. During the second half of the 19th century, the dance rhythms faded away, and the performers became merely singers (fadistas).

Maria Severa, fado singer (1820–1846)

The 19th century's fadista Maria Severa, a half Cigano woman considered scandalous by some at the time, was the artist who made this genre famous.[10]

More recently Amália Rodrigues, known as the "Rainha do Fado" ("Queen of Fado") was most influential in popularizing fado worldwide.[11] Fado performances today may be accompanied by a string quartet or a full orchestra.

Fado typically employs the Dorian mode or Ionian mode (natural major), sometimes switching between the two during a melody or verse change. A particular stylistic trait of fado is the use of rubato, where the music pauses at the end of a phrase and the singer holds the note for dramatic effect. The music uses double time rhythm and triple time (waltz style).

There are two main varieties of fado, namely those of the cities of Lisbon and Coimbra. The Lisbon style is more well known, alongside the status of Amália Rodrigues, while that of Coimbra is traditionally linked to the city's university and the style of medieval serenading troubadours. Modern fado is popular in Portugal, and has produced many renowned musicians.

Coimbra fado

Main article: Coimbra fado

Coimbra students playing fado in a serenade at the front door of the Old Cathedral of Coimbra (Sé Velha)

This fado is closely linked to the academic traditions of the University of Coimbra and is exclusively sung by men; both the singers and musicians wear the academic outfit (traje académico): dark robe, cape and leggings. Dating to the troubadour tradition of medieval times, it is sung at night, almost in the dark, in city squares or streets. The most typical venues are the stairsteps of the Santa Cruz Monastery and the Old Cathedral of Coimbra. It is also customary to organize serenades where songs are performed before the window of a woman to be courted.

As in Lisbon, Coimbra fado is accompanied by the guitarra portuguesa and viola (a type of guitar). The Coimbra guitar has evolved into an instrument different from that of Lisbon, with its own tuning, sound colouring, and construction. Artur Paredes, a progressive and innovative singer, revolutionised the tuning of the guitar and its accompaniment style to Coimbra fado. Artur Paredes was the father of Carlos Paredes, who followed in his father's footsteps and expanded on his work, making the Portuguese guitar an instrument known around the world.

In the 1950s, a new movement led the singers of Coimbra to adopt the ballad and folklore. They began interpreting lines of the great poets, both classical and contemporary, as a form of resistance to the Salazar dictatorship. In this movement names such as Adriano Correia de Oliveira and José Afonso (Zeca Afonso) had a leading role in popular music during the Portuguese revolution 1974.

Some of the most famous fados of Coimbra include: Fado Hilário, Saudades de Coimbra ("Do Choupal até à Lapa"), Balada da Despedida ("Coimbra tem mais encanto, na hora da despedida" - the first phrases are often more recognizable than the song titles), O meu menino é d'oiro, and Samaritana. The "judge-singer" Fernando Machado Soares is an important figure, being the author of some of those famous fados.

Curiously, it is not a Coimbra fado but a popular song which is the most known title referring to this city: Coimbra é uma lição, which had success with titles such as April in Portugal.

• Fados, a 2007 movie about fado by Spanish director Carlos Saura
• List of fado musicians

Wikimedia Commons has media related to Fado.

• Fado Music in Alfama Neighborhood of Lisbon
• Portal do Fado - All about Fado is here