A Look at the Portuguese World



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The scholar of the guitar

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Pedro Jóia has a vast experience as a performer and composer of the classical guitar and has played with big names in Portuguese, Spanish and Brazilian music. In 2001 released an album entitled "Variations on Carlos Paredes" and six years later released his last album, "waiting for Armandinho" two musical projects drawn about the two biggest names of the Portuguese guitar of the twentieth century.

His first discographic projects based on the Flemish. What does this musical style influences your career as a musician?
Peter Jewel: I started studying classical guitar as a kid, from seven until the age of fifteen, I learned the technique and discovered that stage the Flemish music through a Paco de Lucia disk. I realized that guitar had a different dimension, I began to fall in love, to interest me and went to Spain to study this musical style, it was part of my training as a guitarist, is a very strong language to me.

But it is very different from the Portuguese guitar?
PJ: It's completely different. Absolutely. What happens is that over the years tried to merge between these two languages. Transporting the fate for my guitar which itself was influenced by Flemish.

It was a mixture showed the disk dedicated to Armandinho.
PJ: Actually made two thematic albums on the Portuguese guitar, one on Carlos Paredes called "variations" in 2001 and another on the Armandinho.

Let's talk about this record work, why tackle the work of Carlos Paredes?
PJ: Firstly because it was one of the great guitarists of the second half of the twentieth century. Carlos Paredes had the opportunity to know him personally, I saw him up more or less well, talked and even made a first part of one of his concerts. He was a man who admired. Later, I approached another master, the first half of the twentieth century, the Armandinho, who obviously did not know him because he was an older guitarist and died in 1945, but let's say it was the other side that lacked the Portuguese guitar.

It was hard to play with one of his musical references, Carlos Paredes?
PJ: Yes, at the time I was 21 and knew him through my parents who played Carlos Paredes, for me was a mythical figure, but of course, still caught him with health because adoceu two years later and was an immense pride know and above all it does play with him.

It was an idol with feet of clay?
PJ: The Carlos Paredes? There is altogether. He is a great figure of Portuguese music.

In the Armandinho and Carlos Paredes move away and approach?
PJ: Walls is the Coimbra and Armandinho style is fado in Lisbon, the languages are very different and even the playing is very opposite. Despite using the same instrument.

What was the biggest challenge in playing the two? It was more difficult one than the other or not?
PJ: Say the Carlos Paredes music is more universal, easier to adopt as an instrument of music as opposed to Armandinho, which is very specific. I had to grieve too much and dissect his music to get moving in honesty to my instrument.

It is more methodical?
PJ: It's very specific, very different.

Think Armandinho is a forgotten figure of the Portuguese guitar and fado, so it made this record?
PJ: This is because the Walls is our contemporary and Armandinho not. One hears it in Lisbon guitarists that has very present.

And outside the capital?
PJ: Out of Lisbon, not because Armandinho is a very restricted composer to the language of the Lisbon fado.

However decided to make a fusion of styles, think that is the way the Portuguese guitar?
PJ: Yeah, I think so, for me is a big challenge. It is also a mission to raise the music of Portuguese guitarist and do it with my instrument that is universal, which is the classical guitar.

Think transform the fate of humanity's heritage music is important or not for the Portuguese guitar?
PJ: It is important, but it is not po what fado is more heard or respected, it's just a formality. People who do not like fate will not go to appreciate because it is patrimony of UNESCO, many do not even know what that is. But, it is recognized that it is important.

And the Portuguese guitar remains at the heart of the Portuguese?
PJ: I hope so, I doubt very much, because there are huge young people who do not know her. But at the same time there are many new guitarists which is a good sign.

Think there is a bright future?
PJ: I think so, there are a lot of people to play guitar.

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