the story songs credits rupert worktures

http://www.klausdegeus.com.br
k l a u s @ d e g e u s . c o m . b r

the story of eiranembeira


eiranembeira: a project developed with the support of Lei Rouanet, Ministério da Cultura. Title: Projeto Sol. Code: 033185.


where to buy: For a CD, please get in contact with me. Songs can be found in virtually all music stores, such as iTunes, Spotify, OneRPM, ReverbNation and Napster.


the meaning


eiranembeira: exemption of traditional ornamentation.

There is a common expression in the Portuguese Language (at least in Brazil) which is used in day-to-day life: "sem eira nem beira". But what is in fact its origin? The "eira" is a piece of ground at the entrance of a house (a little yard in front of the house), between the footpath and the front wall of the house. The "beira" is the roof end of the house. If the roof ends exactly at the front wall of the house, it does not have "beira". If there is a little roof that go past the front wall, it has a simple "beira". A house may have multiple "beiras" in the roof, which are normally built as if they were little steps.

At old times, the number of "beiras" in a house used to reflect the social class of its owner. A house without "beira" used to indicated a low social class.

The "eiranembeira" work, analogously, intends to be a work which does not make use of ornamentation normally used to indicate status, namely, traditional ornamentation, which are made with second intentions, to please people or culture, or even parameters, that is, which follow a pre-specified paradigm.

eiranembeira intends to be free of prejudice. Its beauty must be discovered.



the beginning


Everything started as a child dream. eiranembeira is the outcome of a long work, which was born with some investigations on the piano, when I was about 15 or 16 years old. At 18, in a music contest in which I presented one of my first songs, I met Paulo, a friend and the writer of three of the lyrics in this work. He showed me the text he had written, called "atestado de óbito declara, terra sela!" (death certificate declares, earth seals!), and I, in my naive little knowledge in music harmony, composed a song which, for me, challenged the "normality". After this song, "Lágrimas lamentando o que já foi lamentado" (Tears mourning what has already been mourned) came up, which made sound experiments, and characterizes itself by polirythmics. "Fluir" (To flow) came along in the sequence, with a more melodious tone.

Still in the 80s, "Tema da liberdade" (Freedom's theme) came up when the minister at church was talking about freedom and I, comfortably seated, with a notebook at hand, was writing down things I thought important, and ended up writing the phrase which became the lyrics of the song. "Sopro" (Blow) also came up around this time, a very simple song, which nevertheless I regarded as important in the context of this work.

After a long period of silence, "me faz ouvir" (make me hear) came up in the 90s. This was the first composition whose lyrics had been made to be part of a song.

After that, from 2001 on, when I decided to restart my piano lessons so I could learn a little bit more of harmonization, new songs came up. "Sol" (Sun) was the composition in which I explored the harmonization and the rich chords of bossa nova. "Sol prelúdio" (Sun prelude) was composed as a complement for "Sol", in a more intimist tone. "Tua luz" (Your light) came up from an old sequence I had made, which then was developed in conjunction with a rythm that explores irregularities. "A separação" (The separation) is a concept song. It came up after I concluded a visual composition, with the same name, in which I separated images of parts of a house by colour. Then the phrase "a separação é pela cor" (the separation is by colour) appeared. Right after that, I thought of the duality of the meaning of this word, which can correspond both to distance ("to separate from") and to selection ("to separate for"). The song followed this concept, attempting to separate its elements as much as possible.



the project


From the year of 2001 on, the actual execution of a musical work came to my mind. There is a Brazilian law, which gives incentive to cultural projects, called "Lei Rouanet", from the Culture Ministry, which showed to be a feasible way to finance the project. After being written, the project received the name "Projeto Sol" (Project Sun), title of one of the songs. Once approved, I searched for companies interested in contributing to the project, finding only one. Since the money wasn't enough, the project took long to be carried out. To get things still worse, after some months, the company couldn't contribute any longer, and we had to search for an alternative way of implementing the project.

I selected the best musical works I had developed until then, and began the artwork of the CD, with the visual work series entitled "worktures". The word comes from the term "work on pictures". The most recent songs, "tua luz", "a separação" and improvements on some existing ones, were made from that date on. At the end of all this, I had in my hands a notebook with all song partitures, in constant improvement and updating, and an album of visual works consisting of sic worktures.

The song "a separação" originated from the workture with the same name, which in turn originated from the first workture, "casasdacidade", when I separated the words of the title by colour, not using the ordinary space.



the implementation


After having collected some financial resources through Lei Rouanet and having prepared all songs and worktures, we made the execution planning of the project, although there still were some uncertain parameters.

Meanwhile, I had to prepare for recording, and that I did at home. David Fehrmann was in that period an essencial element in the project, with his enthusiasm and his willingness to help, whether for friendship or for pleasure. His took musical equipments to my house so we could record the leads for the songs.

Recording began with a session in Teatro Brasílio Itiberê, on Rua Cruz Machado, in Curitiba. After asking for permission to record and have the piano tuned, on the 02nd of March 2005 we recorded the piano of some of the tracks. After that we got the unfortunate news that some recordings had been lost for technical reasons. Another recording made in that theatre has also been replaced, at the end of the project, because I realized that I made a mistake, and that version of the song had lost the feeling with which the song had been originally written.

A few days later, maybe one month, we made the first session at Estúdio BapTchuRap. The excitemente became evident when, during the evening, after a hard and long working day, Lauro and I began to invent things. From these inventions and imaginations the idea of Rupert came along. Rupert was originally a hand made drawing which I made on the wall of my house's kitchen. The painting reminded me of those rock paintings on the wall of a cave, and the similarity between the name of this kind of painting and the name Rupert made me baptize the character which would later play an important role in this work.

The songs already appeared to have a sequence by their content, by the their lyrics. From then on it became easier to conceive one day within Rupert's journey towards Veernandra, the land of constant sunshine.

The even tracks on this CD are exactly the "sound picture" of this day in Rupert's journey to his target. The songs are all on the odd tracks, and they subtly mix with the narrative of Rupert's journey.

From then on, the recording sessions were all carried out once a week, but sometimes we didn't record at all. In March and April 2006, for example, we nearly had no recording session. However, the studio sessions were always full of good humour, full of jokes and creative insights. It is a time one cannot forget, ever.

The last instrumental recording was carried out on the 26th of September 2006. Lead vocals came just after that.


Teatro Brasílio Itiberê
First day of recording: 2nd March 2005.


Teatro Brasílio Itiberê
Piano recording, with leads of guitar and vocals.


Teatro Brasílio Itiberê
Sander, with a cap, managing the sound.


Teatro Brasílio Itiberê
Rehearsals and recordings mixed with each other.


Teatro Brasílio Itiberê
Lauro, on the left, watching.


Teatro Brasílio Itiberê
Fábio, on the piano, David and Klaus.


Teatro Brasílio Itiberê
What's up, Fábio?


Teatro Brasílio Itiberê
Fábio "distroying" the piano.


Teatro Brasílio Itiberê
David accompaning the piano recordings on the guitar.


Teatro Brasílio Itiberê
Lauro taking care of things.


Teatro Brasílio Itiberê
Klaus rehearsing on the piano.


Teatro Brasílio Itiberê
David on the accustic guitar.


Teatro Brasílio Itiberê
Sander and the technical presence.


Teatro Brasílio Itiberê
The first recording is always difficult.


Teatro Brasílio Itiberê
Klaus recording part of a song on the piano.

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