“AMARTE” was recorded live in Praça de Santiago in Guimarães, Portugal, on June 9th and 19th 2005, during the festivities of Camões, the great portuguese poet.

This record was published in 2007 by Worlds Village and distributed by Harmonia Mundi.

This record was supposed to be recorded in studio, as you may notice. We made versions of two themes already edited in 2002 “Ibéria” because at the moment not all the compositions were ready. Then came the invitation for these two concerts that happened in a very special atmosphere, because they took place in my home town, and I felt it was the time to anticipate “AMARTE”.

In all the time when I was composing this record, I had an existencial question in my mind: what is the value of music, the value of art, what’s it’s purpose? Of course that today, while I’m writing you, I have a few broader conceptions regarding this subject, but I came to a small paragraph that explains the title that at the time answered my question.

“I believe that the role of Art is a possible reunion with ourselves, with our capabilities, added with the essence of Love and of the commitment that we apply to each and every moment when we are in contact with our own nature. Amarte is Love for Art and Art for Love…”

Manuel d’Oliveira

Here is part of a text from Nuno Catarino that I especially enjoyed. I related to the way he described my music and even made me understand further a couple of things.

“… For those who know nothing about the guitar player this Amarte is a good gateway into his universe, showing the best moments of it’s first edition alternated with fresher themes. Ready to win an audience beyond our borders, this record is an edition by World Village, the “world” department of illustrious Harmonia Mundi. The word “world” is, of course, too foolish of a designation to associate with this record, it’s impossible to label this music without referring the tradicional portuguese music, flamenco and some elements stolen from jazz and classical music. Just like his home town, Guimarães, Manuel d’Olivera’s music notes an extreme worship for tradition, demonstrating that the beauty of art (architectural, musical) is even more evident when it reveals to be timeless.”

Por Nuno Catarino em Bodyspace


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