António Chainho is a symbol. Node Congress from Europa Nostra in 2012, at the Mosteiro dos Jerónimos, in the presence of the President of the Republic Cavaco Silva and the Princes of Asturias, with Plácido Domingo and Katia Guerreiro, when he represented, through music, the universal dimension of Portuguese Culture, he left those present, coming from all over Europe, amazed by the virtualities demonstrated by the Portuguese guitar, with a very gifted artist.
When we talk about cultural heritage and think about monuments and documents and their material expression, we cannot help but understand that we are not talking about something from the past, but about a living reality of the present, as a dynamic and unforgettable manifestation. This is why public cultural policies cannot fail to focus on cultural heritage and its intimate connection to creation. At the moment when the Europa Nostrathe National Culture Center and the Gulbenkian Foundation, within the scope of Hub European Heritage Committee, launch the project In Concordia Varietywith the enthusiasm of Maria João Pires and Jordi Savall, we are certain that, if António Chainho were among us, he would be one of the protagonists.
There is no human creativity without the connection between art, learning and science. An artist, a writer, a scientist and an educator have a similar process of exercising their craft. Edgar Morin has explained it sufficiently, starting from the complexity and a method that allows human progress to be seen as a path that considers the human race as a solidary community of destiny.
That day, when the chords of the Portuguese guitar echoed in the Jerónimos cloisters, it was the essence of human creation that manifested itself in full. The inheritance received from ancient generations vibrated, projecting itself into eternity. Remembering today, once again, the path and example of António Chainho and his attitude of permanent non-conformity and demand means understanding how mastery in mastering an instrument transcends the usual consideration of it.
Only great artists can overcome, through talent and genius, what the average cannot achieve. From Alfredo Marceneiro, through Carlos do Carmo, Francisco José, Frei Hermano da Câmara, Hermínia Silva and Maria Teresa de Noronha – António Chainho, alongside José Maria Nóbrega, interpreted fado as a dialogue between the voice and the instrument as a permanent reinvention. With Rão Kyao, he discovered a new expression. And international expansion took the Portuguese guitar around the world with its unique sound, as happened with the London Philharmonic Orchestra or the meeting with José Carreras. There are multiple examples, including the meeting of the great classics of Brazilian music with Maria Bethania or Adriana Calcanhoto.
The artist’s biography and discography are impossible to summarize. The concern he has always had with training and the transmission of innovative knowledge deserves special mention. It is not possible to take care of cultural heritage if there is no educational dimension. At this point in António Chainho, singular characteristics come together: the defense and safeguarding of inherited heritage, the innovative capacity opening new horizons and the awareness of the importance of transmitting knowledge and methods of action. An exceptional place in the cultural and artistic panorama.
President of the Arts Council of the National Culture Center
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