Ronda dos Quatro Caminhos is one of the most
important groups of the Portuguese trad-folk
music scene. Since 1983 Ronda recorded 13 albums
(LP’s and CD’s) and performed in several
countries all over the world. In concert, Ronda
presents a selection of Portuguese traditional
songs, from the north to the south of Portugal,
including Azores and Madeira Islands.
In 2003, Ronda dos Quatro Caminhos produced the
most important CD of the year in Portugal “Terra
de Abrigo” (10500 copies sold!). In this CD
Cordoba Symphonic Orchestra (Spain); Alentejo
Polyphonic Choirs; Amina Alaoui (Morocco);
Katia Guerreiro and Pedro Caldeira Cabral
(Portugal); from Spain – Andaluzia - Esperanza
Fernandez (Flamenco singer) and José António
Rodriguez (Flamenco guitar player).
“Ronda dos Quatro Caminhos” (1984), “Cantigas do
Sete Estrelo” (1985);“Canções Tradicionais
Infantis” (1985); “Amores de Maio” (1986);
“Fados Velhos” (1987); “O Melhor da Ronda”
(1989); “Romarias” (1991); “Uma Noite de Música
Tradicional” (1994); “Recantos” (1997); “Outras
Terras” (1999), “Alçude” double live CD (2001)
and “Terra de Abrigo” (2003).
In Octobe 2007, another CD will be released.
TERRA DE ABRIGO (CD of the year 2004)
Alentejo was once the East of the Al-Andalus, a
region named after the Muslim presence between
the 8th and the 15th
century in the south of the Iberian Peninsula.
Although in Portugal they stayed only until the
middle of the 13th the marks are
notorious in every part of the south, in the
food, the architecture and even the language.
In five centuries they had to left something
behind. Most of the people say that the peasants
we hear in this record are one of the evidences.
That is not proved until the moment and we don’t
know if someday it will be.
Nevertheless in Alentejo there’s a tradition of
polyphonic choirs like in other parts of the
Mediterranean Basin. Apart all the influences,
links and roots that we can hear in that
beautiful way of singing, that music exists as a
native and authentic way of expression in that
part of Portugal.
This record does not pretend to be an
ethnomusicology treaty, but only a recreation
and an attempt to join the classical with the
popular and to link people who live in the same
areas of influences.
After all, Alentejo was part of the Al-Andalus,
like Andaluzia did.