Sagrado Coração da Terra -

Sagrado Coração da Terra was a Brazilian symphonic-rock band that established the DIY label Arteciencia for their 1985 self-titled debut and the 1987 followup Flecha. They followed with three discs through 2000 on Sonhos E Sons.

Members: Alexandre Lopes (guitar), Chico Amaral (guitar), Fernando Campos (guitar), Augusto Renno (guitar), Alysson Lima (guitar), Edson Plá (bass), Mauriti (bass), Giló (bass), Caio Guimarães (bass), Ivan Correia (bass), Alysson Lima (bass), Gauguin (bass), Paulinho Carvalho (bass), Zé Arthur (drums), Porquinho [aka Sérgio Viana] (drums), Zé Luís (drums), Marco Antonio Botelho (drums), Neném (drums), João Guimarães (drums), Lincoln Cheib (drums), Limão [aka André Queiroz] (drums), Mário Castelo (drums), Eduardo Campos (drums), Cristiana Ramos (keyboards), Inês Brando (keyboards), Ronaldo Pellicano (keyboards), Lincoln Meirelles (keyboards), Zé Marcos (keyboards), Giácomo Lombardi (keyboards), Marcus Viana (vocals), Vanessa Falabella (vocals), Carla Villar (vocals), Rosani Reis (vocals), Paula Santoro (vocals), Bauxita (vocals), Paula Vargas (vocals), Rosina Minari (vocals)

Background

Sagrado Coração da Terra (Sacred Heart of the Earth) formed in 1979 in Belo Horizonte, Minas Gerais, when violinist-composer Marcus Viana assembled a quintet with bassist Edson Plá Viegas, drummer Zé Arthur, guitarist Alexandre Lopes, and pianist Cristiana Ramos.

Viana grew up in Belo Horizonte as the son of conductor Sebastião Viana, an assistant and score editor for Heitor Villa-Lobos. He studied violin from thirteen with Hungarian teacher Gabor Buza at the Escola de Música da Universidade Federal de Minas Gerais. Viana took up songwriting during a 1972–73 stay in Pennsylvania, where he played in an orchestra.

In 1974, Viana and Plá formed Saecula Saeculorum, which cut demos in September 1976 at Estúdio Bemol in Belo Horizonte. After their 1977 breakup, Viana formed Ícaro and Conclave dos Druidas. He also studied law for three years but quit for a violin seat with the Orquestra Sinfônica de Minas Gerais.

Viana developed Sagrado around orchestrated songs and instrumental pieces. He drew on theosophy and ufology for texts about lost civilizations and the future of Earth. The musicians adopted the Sacred Heart image from religious traditions in Minas Gerais and linked the name to an ecological philosophy.

Sagrado rehearsed and played small venues through several pre-record lineup changes. Viana also accompanied Flávio Venturini on the 1982 EMI-Odeon debut Nascente.

Viana retained Lopes in a reconfigured sextet with singer Vanessa Falabella, bassist Gilberto “Giló” Diniz, drummer Neném, and pianist Inês Brando. Sagrado entered Estúdio Bemol in Belo Horizonte for the 1984 eight-track sessions, with additional singers and instrumental guests for an independent debut album.

Discography:

Sagrado Coração da Terra (1985)
Flecha (1987)
Farol da Liberdade (1991)
Grande Espírito (1994)
A Leste do Sol, Oeste da Lua (2000)

References and notes

Sagrado Coração da Terra — official history and founding statements. Establishes the 1979 formation under Marcus Viana. Two statements identified as founding texts explain the combination of vocal and instrumental music, electronic treatment of traditional instruments, ecological philosophy, and the Sacred Heart image from religious traditions in Minas Gerais. (Official band archive)
Sagrado Coração da Terra — official photographic chronology. Preserves photographs dated 1979, 1982, 1983, and 1985 alongside the historical member lists. The archive distinguishes the early group from subsequent formations and recording personnel. (Official photographic archive)
Sagrado Coração da Terra retrospective — February 12, 2014. Identifies the photographed early quintet as Viana, Alexandre Lopes, Edson Plá, Zé Artur, and Cristiana Ramos. Documents rehearsals, small-venue appearances, personnel changes, and the later sextet with Vanessa Falabella, Gilberto Diniz, Neném, and Inês Brando. Its account of Arteciência as an outside label investment is not used in the background. (Mairon Machado, Baú do Mairon)
Marcus Viana — biographical reference entry. Identifies Sebastião Viana as a conductor and assistant and reviser of works by Villa-Lobos. Specifies violin studies with Gabor Buza at the Escola de Música da Universidade Federal de Minas Gerais and subsequent orchestral employment. (Dicionário Cravo Albin da Música Popular Brasileira)
Marcus Viana — biographical account by Cesar Lanzarini. Supplies the start of violin lessons at thirteen, the 1972–73 Pennsylvania residence, early composition, three years of law studies, and the intervening groups Ícaro and Conclave dos Druidas. (Cesar Lanzarini, AllMusic)
Marcus Viana interview — October 17, 2022. Viana recalls law studies, music festivals, and the 1977 dissolution of Saecula Saeculorum. The interview places the orchestral appointment within the 1977–84 period and confirms the connection between Saecula and Sagrado. (Paulo Henrique Silva, Hoje em Dia)
Saecula Saeculorum retrospective — September 15, 2011. Documents Viana, Plá, and Lombardi in the earlier group and places the demo sessions in September 1976 at Bemol. The background does not treat those tapes as a contemporary album release or repeat the reported label negotiations. (Mairon Machado, Consultoria do Rock)
Marcus Viana interview — March 22, 2022. Connects the Belo Horizonte progressive-rock circuit with experiments in electric violin and contemporary studies in theosophy. The account also identifies lost civilizations among the subjects developed for Sagrado. (UOL TAB)
Marcus Viana interview — Sarapegbe, no. 13, 2016. Direct answers describe the combination of classical music, rock, and Afro-Amerindian influences. Viana links the name and lyrical subjects to involvement in ufology. The Portuguese interview appears below the Italian translation. (Lidia Pena, Sarapegbe)
Songbook Flávio Venturini — second edition, 2020, introductory essay by Murilo Antunes. The account of Nascente identifies Marcus Viana on electric violin and Esdra Neném Ferreira in the accompanying rhythm section. It establishes the documented Venturini session connection before the Sagrado debut. (Murilo Antunes, transcription of the published songbook)
Original Sagrado Coração da Terra sleeve — photographed back cover. Credits Viana with lyrics, music, and orchestration and supplies the recording personnel and Bemol studio information. The photograph supports the distinction between the working group and the additional album participants. (Original sleeve photograph reproduced by Toque Musical)
Sagrado — official discographic account. Describes the first production as an eight-track recording with the group, choir, soloists, and guests. The heading dates the album to 1985, while the production description specifies the 1984 sessions. The background ends at the recording stage. (Official band discography)
“A suíte da terra com o coração do mineiro” — March 17, 1985. Contemporary coverage identifies the debut as an independent production and directs readers to the artist-producer through Bemol. The report confirms that the album was available by March 1985 without resolving the competing 1984 and 1985 release dates. (Aramis Millarch, Estado do Paraná, preserved by Tabloide Digital)