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Vitral Submerso new album by Carlos Maria Trindade

Vitral Submerso, Carlos Maria Trindade’s new album, has already been released, “a return to his origins”, as the author explains. Carlos Maria says that the album was composed for an old upright piano that his father gave him when he was five years old.

With this album, Carlos Maria Trindade returns to the stage for a series of concerts that began at GNRation, in Braga.

This is the story of a return to origins. It is also the title of a concerto for solo piano, as well as an album that should be released by the end of this year, 2023.

“When I was 5 years old, I accompanied my father to an antique auction where there was an old French-made upright piano with a wooden frame. I opened the lid and started playing “Pombinhas da Catrina” with one finger. right. My father murmured: “The kid is good. I have to get him to study music.” And he bought the piano.

At the age of 9, I entered the R. dos Caetanos Conservatory and that was how my pianistic adventure began. However, the harsh pedagogical methods of the time didn’t win me over and it was painful having to study daily on a piano that I couldn’t even tune.

At the age of 16, I came into contact with Symphonic Rock and began to fall in love with electric keyboards. I managed to buy a Yamaha organ with two keyboards and a pedal board and joined a group that played at high school gatherings. It was the beginning of the 70s. From then on I surrendered to the synthesizers that were starting to come out at that time and I never wanted anything to do with the piano again… until March 30, 2018, when the fourth grand arrived at my studio.

Carried by four men, the heavy piece of furniture enters the room that was designed for him 11 years ago and which, since then, has been waiting for him. Legless, and very heavy, he enters through the widest door. I myself helped put foam on the floor so it wouldn’t scratch the parquet. Moved, I welcome him with a silent look, trying to hide my excitement, aware that these men make this their life and are just focused on finishing another transport, like so many others. While one of them screws the three legs together, I decide on its placement in the room. We straightened it out and there it is: the Grotrian -Steinweg quarter-tail manufactured in 1920 is standing. Black and, for now silent, you can already tell that the room is his. After a small conversation, the men say goodbye and disappear towards the van. I close the door. The afternoon is cold and rainy and, inside, I admire the new landscape: a piano in the middle of the slate and stone hall. The dream come true.

The cats come closer to inspect the new object and the smells that come from it. They carefully surround the enormous figure until the Persian jumps onto the top and stays there, enjoying the unprecedented vantage point. Some hairs scatter across the shiny surface and I realize that, from now on, I am in possession of an object that needs to be dusted regularly.

From that day on, I started, in addition to cleaning it, to compose for it. The result of this solitary adventure is in the sound of these pieces, which wander in a kind of assumed neo-classism, the result of varied feelings and a very long musical life.”

Carlos Maria Trindade

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