Pedro Caldeira Cabral - Press revue:

"Pedro Caldeira Cabral (...) a stunning virtuoso player of the Guitarra Portuguesa."
Andy Jackson, Classical Guitar, London 

"No matter what kind of music Cabral plays: he is a genius that reveals even to the unschooled ear the frail beauty, intelligence, charm and paradox of this supremely Portuguese instrument”.
Ulli Langenbrinck, WDR International Phonographic Award. Munique, Germany 2003"

Pedro Caldeira Cabral...The most famous virtuous player of the portuguese guitar. His genius opens the beauty, the inteligent charm and the paradox world of feelings of this profoundly portuguese instrument"Klaus Frederking, NDR, Hamburg, Germany.

"...if the music of Carlos Paredes represents Portugal’s soul, that of Pedro Caldeira Cabral represents the universal see where that soul is actually sailing”… 
Fernando Magalhães-Jornal O Público., Lisbon

   “Pedro Caldeira Cabral’s virtuoso solos on the guitarra were spellbinding, as the audience rose to give them the standing ovation, they deserved boxes of fresh flowers... A night etched in the memory!
Jan Fairley-The Scotsman, Edinburg

"Two highlights of the Dresdner Musikfestspiele 2005  where, 
amongst others, portuguese Legends like Maria João und Madredeus and the 
Master of the portuguese guitar, Pedro Caldeira Cabral."
 Dresdner Musikfestspiele Bilanz 2005- 2008, Intendant  Prof. Hartmut Haenche

   “Everything is possible with Pedro Caldeira Cabral’s portuguese guitar, from classical chamber music to fusion experiences with such important jazz figures as doublebass players José Eduardo and Carlos Bica or sax player Carlos Martins”.
Alejandro Erlich-Oliva-A Capital, Lisbon

   ”Pedro Caldeira Cabral moved the audience to joy and tears, charmed them. These are the artists..Some.”
Rita Ferro-Diário de Notícias, Lisbon

 
     “He plays beautiful music on a beautiful instrument, and if that doesn't make a person happy, then what could?”
Eugene Chadbourne, All Music Guide 2005


 “Thank you for tonight’s “Labirínto” concert. For me, they were clear and lucid ways for the promotion of the portuguese guitar as a concert instrument”.

Prof. Isabel Rocha-Director of the National Conservatory of Oporto, 2007


        "Pedro Caldeira Cabral, composer and musicologist, is the pre-eminent virtuoso of the Portuguese guitar.
This pear-shaped instrument with six double-strung metal strings, was transformed, developed and perfectioned in Portugal  in the 19th century, out of his cistern ancestors and is cherished throughout Portugal for its passionate resonance as a concert instrument or as simple musical accompaniment for traditional Fado songs. Over the years, a highly complex picking technique was developed which demands supreme skill on the part of the musician while allowing him to articulate razor sharp tones of crystalline clarity.
At the age of ten, Cabral took up the instrument and soon began writing his own pieces incorporating elements of medieval, Renaissance, Baroque, and popular music.
No matter what kind of music Cabral plays: his is a genius that reveals even to the unschooled ear the frail beauty, intelligence, charm and paradox of this supremely Portuguese instrument."  Ulli Langenbrinck, NDR, International Phonographic Award
"
All Music Guide:

"He plays beautiful music on a beautiful instrument, and if that doesn't make a person happy, then what could? He certainly looks pretty happy on the back cover of his CD Variaçoes, holding his petite Portugese guitar and beaming benevolently. He has become one of the world's masters of an instrument that developed as a hybrid centuries ago, and has composed a body of work for the Portugese guitar that has been collected on a series of wonderful recordings. Because of the historical development of the genre of music he eventually became immersed in, he represents an interesting blend of both classical and traditional approaches to both learning and making music. At first listen, one would think his music would belong directly to the classical tradition, as it sounds something like classical guitar music and within it has references to Italian, Flemish, and English classical music. However, the actual development of music for the Portugese guitar is considered a particular type of urban folk music and as a result there is no standard, established classical tradition of learning the instrument as there is with the standard or Spanish guitar. 
So, Pedro Caldeira Cabral is the rare musician who is both self-taught and classically trained. He began with the latter and so-called legitimate study of guitar, recorder, flute, and viola from the age of ten. His home was a hotbed of classical record spinning, the most common sounds playing being the German romantics and Baroque pieces. This is what he listened to and practiced until he was 15. Then a bug got in his ear, something like one might pick up in the older parts of town. It was the Portugese guitar, a combination of the Renaissance zither, which was introduced to Portugal in the 16th century, and the guitar as we know it today, which came along roughly 200 years later. In the attempt to combine the sweet, high, ringing sound of the zither with the flexibility of the guitar, the Portugese craftsmen came up with what is arguably a much better version of what was created in the 12-string guitar. The Portugese model also has a dozen strings, tuned in octaves, but because of its design and smaller size, doesn't have the problem of more than 10,000 extra pounds of pressure on the neck. He began composing for the instrument when he had learned enough to be able to perform his works. Several periods exist within his compositional development, the first being straightforward copying of the types of pieces other Portugese guitarists were playing in the saloons. This time around he was learning a kind of music where he had no choice but to go and listen to the players and copy what they were doing by ear and eye. There was no school of Portugese guitar or acknowledged maestro offering an instruction course. By 20, his experience with the traditional music was deep enough that he could serve as the conductor of several ensembles that specialized in early music, Concerto Atlantico, Lucitani Musici and La Batalla. In the next stage of more intricately conceived pieces, he began adding the influences of the classical music he had studied when he was young. For most of his pieces, he is accompanied by a nylon string classical guitarist, bringing out the hearty sound of this instrument's bass strings. He performs with guitarist Francisco Perez on the previously mentioned World Network recording. His debut recording was the 1971 Guitarres de Portugal, and the 1982 Encontros is a favorite of many guitar listeners. Recordings from the late '80s and the 1994 Momentos de Guitara Portugese glow with his more developed compositional approach. He continues to maintain a fascinating open mindedness and as a result, creates a music that seems limitless in its possibilities. As a result, he is highly in demand in several fields related to his speciality. He has performed solo all over the world, including concerts in Europe, the United States,China, and Brazil. There have been commissions to create pieces for film and theater, and he has also created opportunities for himself as a lecturer and teacher in various aspects of traditional Portugese music. This country's fado styles combine the Portugese guitar with mournful laments, and enough vocalists in this style to cause a small traffic jam have called on Cabral to be in their accompanying group. He went on to learn many other instruments that are used in Portugese music, including thecavaquinho, viola braguesa, and viola alentejana. The viola is also a regular feature of fado music, often played in tandem by a pair of violists. He can't seem to get enough of musical instruments and has also gotten involved as an instrument builder, making copies of early music instruments for his Ensembles . "
Eugene Chadbourne, All Music Guide

http://www.gulbenkian.org.uk/press/press/172-Music-and-culture-from-the-Portuguese-speaking-world.html

Music and culture from the Portuguese-speaking world 

This year, the City of London Festival (21 June to 9 July) is celebrating music, dance, poetry and art from the Portuguese-speaking world including Angola, Brazil, Cape Verde, Goa, Mozambique and Portugal itself. Supported by the Calouste Gulbenkian Foundation.

Festival director, Ian Ritchie, says, “Each year the City of London Festival explores and develops artistic and economic connections between the City and the rest of the world via our ‘Trading Places’ theme. In 2010, our spotlight falls on Portugal - Britain’s oldest ally - and the rest of the Portuguese-speaking world. We looking forward to a wonderful three weeks celebrating the rich cultural diversity found within and between these countries and would like to thank the Calouste Gulbenkian Foundation for helping us to do that.”
Other classical highlights include Goanese soprano Patricia Rozario and Brazilian cellist António Meneses (23 June), Lisbon’s Gulbenkian Choir (30 June), A Capella Portuguesa (25 June) and Pedro Caldeira Cabral, the world’s leading authority on the Portuguese guitar (6 July). On a light-hearted note, wine expert Charles Metcalfe is joined by three of Portugal’s best young fado singers and some of the country’s finest wines for a tasting and a quiz in Vintners’ Hall (7July).

Als Carlos Paredes’ muziek Portugal’s ziel vertegenwoordigt, dan vertegenwoordigt de muziek van Pedro Caldeira Cabral de universele oceaan waarop die ziel zeilt.
Fernando Magalhães, O Público, Lissabon

Alles is mogelijk met Pedro Caldeira Cabral’s Portugese gitaar, van kamermuziek tot fusion experimenten met jazzmuzikanten.
Alejandro Erlich-Oliva, A Capital, Lissabon

In dit concert presenteert Pedro Caldeira Cabral een ware geïllustreerde historie van de Portugese gitaar.
24 horas, Lissabon

Pedro Caldeira Cabral’s optreden was smaakvol, emotioneel en opvallend. Dat is hoe artiesten zijn. Enkele van hen.
Rita Ferro, Diário de Notícias, Lissabon

Hoe kunnen zes eeuwen historie van de Portugese gitaar worden samengevat in anderhalf uur? Pedro Caldeira Cabral laat zien hoe dat te doen.
Diário de Notícias, Lissabon

Toen Pedro Caldeira Cabral optrad op het San Tirso gitaar festival, werd de jury verrast: hij speelde klassieke muziek op de Portugese gitaar!
Pedro Vila-Chã, Jornal de Notícias, Lissabon

http://youtu.be/o_C6ka8EmgU


As duas composições são interpretadas por Caldeira Cabral, que fez a "transcrição literal" para guitarra portuguesa da peça para cravo "Minueto em Fá Maior", daquele compositor setecentista.

A outra composição, "Baile dos carêtos", é da autoria do próprio Caldeira Cabral e surge como "complemento" do texto do compositor inserido na revista, cujo tema central é "o sonho português".
Em declarações à Lusa, Pedro Caldeira Cabral afirmou que a guitarra portuguesa "é um sinal e um símbolo de identidade portuguesa, reconhecidos além fronteiras".
"O som da guitarra é único, específico e original, distinguindo-nos em todo em mundo", sublinhou.
No seu texto, o músico traça o perfil histórico da guitarra portuguesa para concluir que esta "cumpre o sonho de um som português".
Actualmente, Pedro Caldeira Cabral está a trabalhar numa composição encomendada pelo Grupo de Música Contemporânea e a preparar a sua actuação, dia 17 de Outubro, no Festival de Zagreb.
Caldeira Cabral tem-se destacado nos últimos 30 anos como concertista de guitarra portuguesa, procurando alargar o repertório deste instrumento para além do fado, e como intérprete de música antiga, a solo e integrado no conjunto La Batalla.
Além da de Pedro Caldeira Cabral, a Egoísta inclui ainda colaborações de Eduardo Lourenço, José Eduardo Agualusa, Graça Morais e Alice Vieira, entre outros.
Mário Assis Ferreira, director da revista, afirma no editorial que esta edição se inspira "na aventura" que é a "estranha força" que impele os portugueses a ultrapassarem as fronteiras nacionais e a dispersar-se pelas várias partes do mundo onde ainda hoje o português é falado.
Macau, Goa, Cabo Verde, Guiné, Timor, Angola, e Moçambique são referenciados nesta edição em textos de autores como Maria João Seixas, Pedro Rosa Mendes ou Rui Zink.
O espírito desta edição, afirma Assis Ferreira, tem como mote inspirador o verso de Fernando Pessoa "A minha Pátria é a Língua Portuguesa".
A revista Egoísta é editada pelo grupo Estoril-Sol, tem uma periodicidade trimestral e uma tiragem de 10.000 exemplares.


RTPI 10 de Setembro 2006