17.Assim nasceu este fado (António de Sousa Freitas)
18.Eu queria cantar-te um fado (António de Sousa Freitas / Franklin Gomes Godinho)
19.Na rua do silêncio (António de Sousa Freitas / Joaquim Campos da Silva)
20.Primavera (David Mourão-Ferreira / Pedro Rodrigues)
A crucial moment in the Fado history.
One of the great secrets that was part of Amália's big success was her strong intuition and great taste when choosing her repertoire. Since always she gave voice to the compositions of great Portuguese song composers like Alberto Janes, Frederico de Freitas, Frederico Valério, Jaime Santos, among others. 1962 was an important year in her career, Amália met the great luso-French composer Alain oulman. With oulman, Amália started to sing classical poets that till that date never had been performed in the style of Fado. Her voice alongside Oulman's brilliant compositions and the vast Portuguese poetic works gave her a dimension that extended to the limit. The beginning of this partnership meant a truthful revolution in Amália's repertoire and also in the Fado of the time, gaining more expansion and harmonic richness, representing a crucial moment for the modern Fado. It was in this way that the partnership between Amália and Oulmann began, becoming one long effort in complicity and time that kept going till the death of the composer. In 1962 Amália published with Columbia the innovative album 'Asas fechadas' also known as 'Busto'. This album became one of the greatest Fado classics, despite the critiques of the most purists at the time. With poems from Luís de Macedo, David Mourão-Ferreira, Pedro Homem de Mello and also Amália, Oulman composes the majority of the included themes in the record with the exception of the Fado bailado from Alfredo Duarte Marceneiro Estranha forma de vida and Fado Vitória de Joaquim Campos Povo que lavas no rio that became big hits. In this same session there were recorded more than 10 themes that gave origin to other international editions the next year. One of them was 'Amália for your delight' by the international record company Columbia that came with the new themes 'Algemas' and 'Rasga o passado' from Álvaro Duarte Simões and many poems like 'Acho inúteis as palavras', 'Na rua do silêncio' from António de Sousa Freitas, also containing themes from Alain Oulman, Joaquim Campos and Alfredo Duarte Marceneiro with poems from David-Mourão Ferreira and Luís de Macedo. Other edition was 'Amália 1963' with seal of French recording company Ducretet-Thomson that results in a compilation of 'Asas fechadas' and 'Amália for your delight' that it also includes the theme Oulman's 'Dura memória' with Luís de Camões poem till then unprecedented. This recordings were directed by sound engineer Hugo Ribeiro in the Valentim de Carvalho studios, with José Nunes on the Portuguese guitar, Castro Mota on the Fado viola and Alain Oulman on the piano. All this Fados like the Fado 'Primaveira' of David-Mourão Ferreira and Pedro Rodrigues that were recorded a few uears before are included in this work 'Amália the best fado songs'. Amália's success was always constant since the beginning of her career in 1939 till today. A woman with an extraordinary artistic intuition and strong notion of timeliness that marked a crucial moment in Fado history, being without challenge the maximum symbol of the Lisbon song.