Saturday, October 7, 2017

Todas as minhas coisas são tuas

Leonardo Gandolfi


Quando fiz Do you know the way

to San Jose, preparei algumas variantes

que acabaram ficando de fora da versão final,

gravada em 1968 por Dionne Warwick.

A mais importante delas talvez tenha sido

uma pequena quebra de andamento

mais ou menos na metade da música,

indicada sobretudo por uma mudança de nota

nos três trompetes que, naquele instante,

preenchiam os espaços em branco.

Isso, apesar de rápido, sempre me remetia

a um tempo em que meu pai me levava

ao bar a meio quilômetro da nossa casa.

As cordas de um piano que eu nunca mais

ouviria. Anos depois, toda vez que toco

Do you know the way to San Jose, penso

no meu pai. A música que fiz com certeza

não fala disso, a suspeita a um só tempo

oportuna e desacreditada que nos separa

dos nossos. Frio antigo e úmido que,

como depois percebi, da ação até a demora

não leva nem mesmo alguns segundos


translated from Portuguese by Farnoosh Fathi


Everything I Have Is Yours


When I wrote Do you know the way

to San Jose, there were a few flourishes

in the arrangement that didn’t make the final cut

recorded by Dionne Warwick in 1968.

The most noteworthy of these was perhaps

a small break in the rhythm midway

through the song, further indicated by a

note change from three trumpets that were,

at that time, filling blank spaces.

Although quick, that break always reminded

me of when my father used to take me

to a bar half a mile from our house,

the chords of a piano I would never hear again.

Now, years later, when I play Do you

know the way to San Jose, I think

of my father. The song I wrote certainly

doesn’t tell of this, the suspicion both

fitting and unreasonable that keeps us apart

from our own. A damp old chill that,

as I was later to realize, from action to stall

lasts no more than a few seconds.


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