LEMINSKANÇÕESEstrelinski Paulerae

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Few things remain as hard to spot as an artist’s genius. This is how the multi-

plicity of Paulo Leminski (1944-1989) reverberates in his native Brazil,

whether in old or new ways to express language: as a poet, writer and explorer

of human nature and the artistic ways it can be expressed. His essence

remains perennial, undeniable, and necessary.

Besides his contributions to poetry, Leminski also experimented with music.

Those who know his work and are attuned to his style already knew that classic

tunes in the voices of artists such as Caetano Veloso, Arnaldo Antunes, Itamar

Assimpção and Paulinho Boca originated from Leminski. His work is now

being rediscovered with even more interest, the generational shock creating

new points of contact in a sensorial web. After the reissue of his literary clas-

sics, Leminski was welcomed into the museums with an exhibit about his life

and this resurgence is now expanding into music as well.

The double-album “Leminskanções” is the project that succeeds in bringing to

life this aspect of the artists’ career. After six years of research in Leminski’s

personal archives, Estrela Ruiz Leminki – not only his daughter, but a writer,

poet, composer and singer in her own right (and with partner Téo Ruiz) – has

released a wonderful record of previously unreleased songs, as well as her

father’s better known collaborations.

The record is released under the name “Estrelinski e os Paulera,” an evident

joke (in Portuguese) with both her and her father’s name, with the “Paulera’s”

being the musicians who so aptly perform the songs. The group exists in two

main incarnations, in Curitiba and São Paulo, the cities in which the album

was recorded. The first disc is comprised of new songs – meaning songs that

had never been released by Leminski –, while the other showcases some of his

work with partners. In order to celebrate the importance and the communal

feeling of the project, “Estrelinski e os Paulera” invited a number of artists to

take part in the songs, names such as Arnaldo Antunes, Zeca Baleiro, Zélia

Duncan, Serena Assumpção, Ná Ozzetti, Bernardo Bravo and André Abujamra.

It is good timing for all of those who have been enticed by Leminki’s writings

and want to expand their knowledge of his work. As hard is it may be to spot an

artist’s genius or to recreate his intentions, “Leminskanções” shows a uni-

verse of great potential. It is possible to hear in these recordings what has

I want to remain a semi-professional when it comes to

music, and that’s also because of creativity reasons. (…)

That is my question. I want to remain a bit of an outsider

when it comes to this universe of popular music.”

(Paulo Leminski, in an interview to Rádio Brasil 104)

turned a writer into an icon who can be reconstructed in multiple ways and

still stand the test of time. This album does not rest on the simple laurels of

“previously unknown” material, but has in itself strength and coherence; it

shows a path that could well have been trodden by the composer, had he lived

longer. This is an organic web, one made from people, places, art and

thoughts. It is not only meant to please us now, but to stay with us and, like so

much of Leminksi’s oeuvre, to remain relevant even once we are gone.

by Web Mota

SHOWThe live version of “Leminskanções” includes most of the songs included in

the double album, with the possibility of different casts of musicians. It can,

for example, be played by the core players of “Estrelinski e os Paulera” or

grow to include special appearances by guests who have participated in the

recording.

The “Paulera’s “ usually consist of: Téo Ruiz, Du Gomide, Denis Mariano,

Érico Viensci, Natalia Mallo, Estevan Sinkovitz and Mariá Portugal.

Few things remain as hard to spot as an artist’s genius. This is how the multi-

plicity of Paulo Leminski (1944-1989) reverberates in his native Brazil,

whether in old or new ways to express language: as a poet, writer and explorer

of human nature and the artistic ways it can be expressed. His essence

remains perennial, undeniable, and necessary.

Besides his contributions to poetry, Leminski also experimented with music.

Those who know his work and are attuned to his style already knew that classic

tunes in the voices of artists such as Caetano Veloso, Arnaldo Antunes, Itamar

Assimpção and Paulinho Boca originated from Leminski. His work is now

being rediscovered with even more interest, the generational shock creating

new points of contact in a sensorial web. After the reissue of his literary clas-

sics, Leminski was welcomed into the museums with an exhibit about his life

and this resurgence is now expanding into music as well.

The double-album “Leminskanções” is the project that succeeds in bringing to

life this aspect of the artists’ career. After six years of research in Leminski’s

personal archives, Estrela Ruiz Leminki – not only his daughter, but a writer,

poet, composer and singer in her own right (and with partner Téo Ruiz) – has

released a wonderful record of previously unreleased songs, as well as her

father’s better known collaborations.

The record is released under the name “Estrelinski e os Paulera,” an evident

joke (in Portuguese) with both her and her father’s name, with the “Paulera’s”

being the musicians who so aptly perform the songs. The group exists in two

main incarnations, in Curitiba and São Paulo, the cities in which the album

was recorded. The first disc is comprised of new songs – meaning songs that

had never been released by Leminski –, while the other showcases some of his

work with partners. In order to celebrate the importance and the communal

feeling of the project, “Estrelinski e os Paulera” invited a number of artists to

take part in the songs, names such as Arnaldo Antunes, Zeca Baleiro, Zélia

Duncan, Serena Assumpção, Ná Ozzetti, Bernardo Bravo and André Abujamra.

It is good timing for all of those who have been enticed by Leminki’s writings

and want to expand their knowledge of his work. As hard is it may be to spot an

artist’s genius or to recreate his intentions, “Leminskanções” shows a uni-

verse of great potential. It is possible to hear in these recordings what has

turned a writer into an icon who can be reconstructed in multiple ways and

still stand the test of time. This album does not rest on the simple laurels of

“previously unknown” material, but has in itself strength and coherence; it

shows a path that could well have been trodden by the composer, had he lived

longer. This is an organic web, one made from people, places, art and

thoughts. It is not only meant to please us now, but to stay with us and, like so

much of Leminksi’s oeuvre, to remain relevant even once we are gone.

by Web Mota

SHOWThe live version of “Leminskanções” includes most of the songs included in

the double album, with the possibility of different casts of musicians. It can,

for example, be played by the core players of “Estrelinski e os Paulera” or

grow to include special appearances by guests who have participated in the

recording.

The “Paulera’s “ usually consist of: Téo Ruiz, Du Gomide, Denis Mariano,

Érico Viensci, Natalia Mallo, Estevan Sinkovitz and Mariá Portugal.

Few things remain as hard to spot as an artist’s genius. This is how the multi-

plicity of Paulo Leminski (1944-1989) reverberates in his native Brazil,

whether in old or new ways to express language: as a poet, writer and explorer

of human nature and the artistic ways it can be expressed. His essence

remains perennial, undeniable, and necessary.

Besides his contributions to poetry, Leminski also experimented with music.

Those who know his work and are attuned to his style already knew that classic

tunes in the voices of artists such as Caetano Veloso, Arnaldo Antunes, Itamar

Assimpção and Paulinho Boca originated from Leminski. His work is now

being rediscovered with even more interest, the generational shock creating

new points of contact in a sensorial web. After the reissue of his literary clas-

sics, Leminski was welcomed into the museums with an exhibit about his life

and this resurgence is now expanding into music as well.

The double-album “Leminskanções” is the project that succeeds in bringing to

life this aspect of the artists’ career. After six years of research in Leminski’s

personal archives, Estrela Ruiz Leminki – not only his daughter, but a writer,

poet, composer and singer in her own right (and with partner Téo Ruiz) – has

released a wonderful record of previously unreleased songs, as well as her

father’s better known collaborations.

The record is released under the name “Estrelinski e os Paulera,” an evident

joke (in Portuguese) with both her and her father’s name, with the “Paulera’s”

being the musicians who so aptly perform the songs. The group exists in two

main incarnations, in Curitiba and São Paulo, the cities in which the album

was recorded. The first disc is comprised of new songs – meaning songs that

had never been released by Leminski –, while the other showcases some of his

work with partners. In order to celebrate the importance and the communal

feeling of the project, “Estrelinski e os Paulera” invited a number of artists to

take part in the songs, names such as Arnaldo Antunes, Zeca Baleiro, Zélia

Duncan, Serena Assumpção, Ná Ozzetti, Bernardo Bravo and André Abujamra.

It is good timing for all of those who have been enticed by Leminki’s writings

and want to expand their knowledge of his work. As hard is it may be to spot an

artist’s genius or to recreate his intentions, “Leminskanções” shows a uni-

verse of great potential. It is possible to hear in these recordings what has

turned a writer into an icon who can be reconstructed in multiple ways and

still stand the test of time. This album does not rest on the simple laurels of

“previously unknown” material, but has in itself strength and coherence; it

shows a path that could well have been trodden by the composer, had he lived

longer. This is an organic web, one made from people, places, art and

thoughts. It is not only meant to please us now, but to stay with us and, like so

much of Leminksi’s oeuvre, to remain relevant even once we are gone.

by Web Mota

SHOWThe live version of “Leminskanções” includes most of the songs included in

the double album, with the possibility of different casts of musicians. It can,

for example, be played by the core players of “Estrelinski e os Paulera” or

grow to include special appearances by guests who have participated in the

recording.

The “Paulera’s “ usually consist of: Téo Ruiz, Du Gomide, Denis Mariano,

Érico Viensci, Natalia Mallo, Estevan Sinkovitz and Mariá Portugal.

+55 41 9881 9507contato@whoisproducoes.com.br