Song Meaning
The narrator, a guitar, presents itself as a refined instrument, "très comme il faut," destined for prestigious venues like Pleyel or Gaveau, clad in rosewood for chamber music. It imagines itself under the skilled hands of legendary guitarists Andrés and Narciso, suggesting a life of classical elegance and high artistic purpose. This initial self-image is one of sophisticated control and traditional beauty, a meticulously crafted object for discerning ears.
However, this carefully constructed identity is disrupted by an unexpected influence: Brazil. The lyrics pose a question about why Brazil must secretly whisper "words full of fantasy" to the guitar, introducing an "étrange mélodie" where samba suddenly insinuates itself. This suggests an internal conflict or a yearning for something beyond its prescribed classical role, a pull towards a more vibrant, perhaps less conventional, musical expression.
The most striking aspect of the lyrics is the personification of classical masters like Vivaldi and Bach being overcome by a more spontaneous, dance-like energy. Vivaldi "se déhanche" (sways his hips) and Bach "entre en transe" (enters a trance), indicating a breakdown of their usual formal structures. The guitar, caught in this transformation, forgets its "vieilles romances" (old romances), implying a shedding of past, perhaps more somber, musical narratives in favor of this new, intoxicating rhythm originating from Bahia.
This juxtaposition of strict classical form with the liberating spirit of Brazilian music creates a powerful emotional arc. The guitar, initially defined by its refined purpose, finds itself unexpectedly moved by a more visceral, rhythmic force. The repeated "Oh la la" and the nonsensical "(Dim da la...)" vocalizations underscore this surrender to a feeling that transcends formal language, culminating in the evocative destination of Bahia, a place synonymous with vibrant musicality and joyful abandon.
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