Guitare portuguaise et fado

Abstract

The fado is a love and nostalgie song which was born in the poor neighbourhoods of Lisbon, between the 18th and the 19th century. Since the 19th century, the instrument called Portuguese guitar (with plucked and strummed strings) usually accompanies the fado. It is a six-course guitar, where the table has a sound-hole and the fingerboard presents from 17 to 22 frets and a fanshaped upper end. This guitar is coming from the classical cittern in his late evolution of the 17th century, the cittern called English guitar. The Portuguese Galráo and the British Simpson bring to the instrument successive modifications. The Portuguese guitar reached the countryside to become a dance instrument. In the 19th century, the singer called A Severa incarnates the big national myth of the fado. Daughter of one of the poorest neighboorhood of Lisbon, she was working in a "closed house" of the Mauraria (a neighbourhood of Lisbon). This talentuous singer was also linked to the circle of the bull courses (on a bourse) which the Lord Vimioso, in love with her, was the symbolic représentant. Julia Florista or A Cesarla are also among the famous figures of the femúe fado. The male fadist of that time was described like a social parasite who is living by one's wits. Later, he will live from small professions. At the end of the 19th century, the fado is sung in the kitchen-garden of Lisbon, along the roads followed by the bulls going to the arenas. It becomes a recreation song for banquets and weddings. Some very known singers and guitarists are Antonio Casaca, Caetano Calcinhas, Joáo Black. The golden period of the fado is situated around 1930-50. Since the thirties, the fado will slowly loose his instantaneous and spontaneous carácter for the professionalism, encouraged by the radio. It becomes a scenic song which Amalia Rodrigues and Alfredo Marceneiro are the more famous représentants.