Folkways Recordings is the non-profit label of the U.S. Smithsonian Institution. Over the past century it has collated into one archive a vast variety of sounds collected from global sources. Many had been recorded on primitive equipment such as tapes and 78s but now have been processed digitally so that content is available on custom CD or download; the latter being a cheaper and faster method for obtention internationally. Both formats include copies of the original sleeve notes or an informative bulletin. Full details from the shop at the Smithsonian web-site or, for urgent orders, by international telephone at + 1-202-633-6450.

Twenty-eight titles are directly related to Portugal. Most of these were made on location in the years 1955 to 1975 with village choirs being accompanied by ancient instruments so there is the inevitable crackle and hiss but this does not detract from the effervescent, captivating enthusiasm of the performers. Several were made under the auspices of UNESCO World-wide Music (e.g. Festas in Minho and Music and Dances from Madeira in year 2015) using studio equipment so the quality of sound is better managed if not so naïve.

Where better to begin than the Anthology of Portuguese Music: Volumes 1 (Tras-Os-Montes) and 2 (Algarve) ? This dates from 1962 but part of the contents for Vol. 1 are attributed to the work of musicologist Kurt Schindler who travelled extensively through Portugal and Spain between 1928 and 1933. During this time he recorded over five hundred melodies on his Magnetophone to support his belief that secluded regions harboured a “grandiose survival of mediaeval music”. Certainly, the vigour of the singers and the enthusiasm of the musicians with their traditional flutes, bagpipes and tabor drums is most convincing. One can well imagine the music being sung and played in the fields during the gathering of the harvest or while attending to flocks and herds. By contrast Vol.2 is less strident and reflects historic links to the music of Andalusia and North Africa. The selection was made by Fernando Lopes Graça from many candidates submitted by hamlets and villages.

Celebrations for the birth of the Christ-child have long been accompanied by carols and special compositions. The two collections offered by Folkways will not disappoint. Christmas in Portugal dates from1965 and features a medley of vocalists contributing beautifully to a presentation of Portuguese carols including the melodic harmonies of “sinos de natal”. Christmas Songs of Portugal was made ten years earlier in the Estrella church by producer Laura Bolton with its fine choir, soloists and a trumpeting elephant!

Fado is, of course, the theme for many of the recordings. The inimitable Amalia Rodrigues tops the collectors´ list with Live at the Olympia Theatre, Paris on 16 November 1956 when she was at the apex of her career and offered a unique performance to an adoring audience.

In 1960, Maria Marques and Manuel Fernandes presented a collection of Portuguese Fado and Folk Songs. This was followed in 1963 by Valentina Felix with Petticoats of Portugal and, in 1965, she sang Cançâo do Mar with the best available supporting musicians. In fact, 1963 proved to be a golden year with Maria do Espirito Santo and Manuel Fernandes releasing Fados of Portugal and Fernanda Maria, described as “Portugal´s great singer”, making an album with a similar title.

Fadistas´ Choice of Portugal´s best-loved Songs (1970) presents the renowned virtuoso guitarist Jorge Fontes leading the Shegundo Galarzo orchestra while Lisbon by Night. A Severa Vol. 2 (1963) provides a programme by various “conjuntos” which aims to reflect the atmosphere conveyed by various films of that era – especially the spy dramas.

The titles to which I have referred are my personal preference but there are many others which deserve consideration for adding to your own collection. A search and quick listening to samples at the Smithsonian shop might well resolve a gift problem!

But I cannot conclude without mentioning two products which relate to speech. The first is Modern Portuguese Poetry read with sparkling style and enunciation by Dr. José Rodrigues Miguels. The second is Roman Love Poetry read by John Richards in Latin using an orthography which is thought by some scholars of linguistics to be close to the Portuguese language as sung by many of the performers to whom I have referred.

In the final words of Catullus (poem 101) may I conclude this review of “music and speech of and for the people” by wishing you many hours of rewarding listening and Ave Atque Vale.

by Roberto Cavaleiro Tomar 25 November 2024