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Burle Marx Symphony {Otac​í​lio Melga​ç​o} [duration 01​:​34​:​05]

by Otacílio Melgaço

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about

B u r l e M a r x S y m p h o n y

O t a c í l i o M e l g a ç o

[duration 01:34:05] all rights reserved

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The artist Otacílio Melgaço has two official curators in the virtual world. A curator (from Latin: ´curare´, meaning ´to take care´) is a manager or overseer. Traditionally, keeper of a cultural heritage institution (e.g., gallery, museum, library or, as the present case: sound archive) is a content specialist charged with an institution's collections and, highlighting the context in force here, involved with the interpretation of personal (heritage) material. Both, Mr. Paz and Mr. Campbell, are, therefore, reviewers of the Melgacian works. To learn more about their missions, tasks, assignments and responsibilities by means of valuable informations regarding the compositional process, the performative rhizomes and other special features, just click the following link: otaciliomelgaco.wixsite.com/preamblebypsp
(O.M.Team; P r e l u d e)

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"Mr. Melgaço brought to light a Series of Nine Symphonies called ´Brasilianas´. All pay homage to a Brazilian consecrated Personality and characterized by certain global penetration. ´Burle Marx´ is part of that Cycle.

´If the artist reproduces only the superficial traits as does the photographer; if registers accurately the various features of a face, but without relating it to the character, he does not deserve to be admired. The similarity is that it should reach the soul.´ (B.M.)

About the

B u r l e M a r x S y m p h o n y;

who could expect a merely pastoral perspective, will incur a clear error.

´The garden is a nature organized by man and for man.´ (B.M.)

Despite the personality dedicated the winding Opus, Otacílio Melgaço brings a rather idiosyncratic approach to bucolic subject.

´A garden is made of light and sounds - the plants are supporting.´ (B.M.)

If we can conceive what would be a Sonic Landscaping, here will be found literatim! A soulful Piece made of light and sounds..." (Caio Campbell; Anglo-Brazilian semiologist and musician)

"Nature. The word 'Nature' will be invoked by me several times. I would ask: no surprise at such legitimate insistence. We are not facing an ecological offspring, but we are faced with Human Nature itself and its most original artistic sowing.

A ´doucement sauvage´ Melgacian stratagem. Prefacing the Movements, one by one - there are four ´parallel Openings´ dredging very concrete sounds: first Birds (and the campestral atmosphere around); second Wind; Rain third and finally the fourth: Rustling and a revealing Walk on the Leaves. I consider each introductory intervention as an ´Innen Ouvertüre´, a respective polysemic climatic idyllic sonic proem. But are simultaneous layers, eclipsed architectures. Simultaneously with the fourfold initiatories symphonic notes - which makes it more attractive. As Pan (or Burle Marx?) leading us by the hand into the uterus of the Big Green, so we could go alone, through our own Walk (on the designed Leaves).

´In Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds, hunting and rustic music, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, and wooded glens; because of this, Pan is connected to fertility and the season of spring.´ Roberto Burle Marx goes a step further and gives a direction, order, a model for what was wild. He transforms Nature into an artistic work in the symphonic conducting therefore perpetrated by a man, as if the flowers were paint or gardens were sculptures. So I refer to an anthropomorphic Pan. Otacílio Melgaço, genially, approaches the midway. Not entirely a deity, nor fully a human: a being just like a demigod with the predicates of a vertex as the other.

´Pan once had the audacity to compare his music with that of Apollo, and to challenge Apollo, the god of the lyre, to a trial of skill. Tmolus, the mountain-god, was chosen to umpire. Pan blew on his pipes and gave great satisfaction with his rustic melody to himself and to his faithful follower, Midas, who happened to be present. Then Apollo struck the strings of his lyre. Tmolus at once awarded the victory to Apollo, and all but Midas agreed with the judgment. Midas dissented and questioned the justice of the award.´ Musically, following the mythology and the ambiguity that I have outlined between the gods and men, I would compare this Symphony to a hybrid among the sonorities coming from Pan and from Apollo. Because Pan maintains its captivating rustic teluric jargon while Apollo inserts a sophistication, endowed with more aesthetic rationality. Suggest it was the Melgacian ´Saute de Chat´!

The presence of the flutes may give a Brazilian accent but it is a cosmopolitan work in essence. I highlight another fabulous detail contained in a setting full of authenticity: realize that every Movement is geared to an instrumental approach very individualized. Are more electronic focus; are metamorphic strings; are new colors that overflow of the multiplied organ; constants and subtle rhythmic pulsations (as a kind of hasty heartbeat but whose source is the mother Nature own) etc.

´I believe that there is a subtle magnetism in Nature, which, if we unconsciously yield to it, will direct us aright.´ (Henry David Thoreau)
I also believe. The unconscious added to the consciousness that has the mission to be right. To propose and do what is right. For the benefit of Nature and for our own. There is how to differentiate one thing from another? I think not and the ´Burle Marx Symphony´ teaches us, Whitmanian, that a leaf of grass is no less than the journey-work of the stars." (Pablo S. Paz; Argentinean musicologist)

Check out
melgacootacilio.bandcamp.com/album/the-n-symphony-otac-lio-melga-o-duration-01-15-52

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I - Roberto Burle Marx (1909 – 1994) was a Brazilian landscape architect (as well as a painter, print maker, ecologist, naturalist, artist and musician) whose designs of parks and gardens made him world famous. He is accredited with having introduced modernist landscape architecture to Brazil.
>Was known as a modern nature artist and a public urban space designer. His work had a great influence on tropical garden design in the 20th century. Water gardens were a popular theme in his work.
>Was deftly able to transfer traditional artistic expressions such as graphic design, tapestry and folk art into his landscape designs. Also designed fabrics, jewellery and stage sets.
>Was one of the first people to call for the conservation of Brazil's rainforests. More than 50 plants bear his name. He amassed a substantial collection of plants at his home, including more than 500 philodendrons;

II - Some important works as a landscaper

Design of some gardens in the public buildings of Brasília;

Ministry of Army - water garden and excellent use of concrete forms;

Foreign Affairs Building;

Ministry of Education;

Itamaraty Palace - headquarters of the Ministry of External Relations;

Copacabana promenade - Pavement landscape, large scale (4 km long) mosaic completed in 1970 on famous Rio de Janeiro beach. (Influenced by Portuguese pavement);

Ibirapuera Park, São Paulo, 1954;

Flamengo Park - large public park in Rio de Janeiro built on landfill;

Venetian Palace - entrance, and extreme use of scale;

La Rinconada Hippodrome, Caracas, Venezuela;

Parque del Este, Caracas, Venezuela;

La Lagunita Country Club, Caracas, Venezuela;

Pampulha, Belo Horizonte;

Cascade Garden, Longwood Gardens, Pennsylvania;

Biscayne Boulevard, Miami, Florida (Completed posthumously);

Maracaibo Botanical Gardens, Maracaibo, Venezuela;

Peru Square, Buenos Aires, Argentina (Demolished);

Kuala Lumpur City Centre (KLCC) Park, Kuala Lumpur, Malaysia;

Casa Forte Square (Praça de Casa Forte), Recife, Pernambuco-Brazil;

Cascata Farm, Araras-Brazil.

...for purposes of pragmatism and clear exegesis,
Wikipedia was the main source...

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Between two parentheses...
(Atonalism, Twelve-Tone, Serialism, Musique Concrète... Acousmatic. Eletroacoustic. Magnetic Tape. Expressionism, New Objectivity, Hyperrealism, Abstractionism, Neoclassicism, Neobarbarism, Futurism, Mythic Method. Electronic...Computer Music, Spectral, Polystylism, Neoromanticism, Minimalism and Post-Minimalism...are addressed by Melgaço. Paradoxically New Simplicity and New Complexity also.
Art Rock, Free Jazz, Ethnic Dialects, Street Sounds are occasional syntax elements.
All the possibilities mentioned above and others that were not mentioned are the usual accoutrements of the composer/instrumentalist to establish his ´babelic´ glossary. We can prove this in a short passage of a single composition up along the entirety of a conceptual phonograph album. All distributed over a career and idiosyncratic records. Have we a universe before us and I propose to see it through a telescope, not a microscope.
I propose not handle very specialized topics here. Otherwise would be, with the exception of musicians and scholars, all hostages of a hermetic jargon. Because more important is to present Otacílio Melgaço to the general public and not to a segment of specialists. Faction of experts not need presentations, depart for the enjoyment beforehand. For this reason there is no niche here for intellectual onanism and encrypted musical terminology. The reason for these parentheses is to establish such elucidation. The non-adoption of technicalities leads to more panoramic, amplifier reviews. Are You always welcome. Those who do not dominate contemporary music and are introduced to the world of ubiquitous O.M. [autodidact and independent artist who, being more specific, does not belong to schools or doctrines; artist who makes Music and that´s enough; music devoid of labels or stylistic, chronological, historical paradigms or trends] and Those who belong to the métier and turn to enjoy propositions they know and also delving into advanced Melgacian sound cosmogonies...
I conclude poetically. ´Certeza/Certainty´ by Octavio Paz. ´Si es real la luz blanca De esta lámpara, real La mano que escribe, ¿son reales
Los ojos que miran lo escrito? De una palabra a la otra Lo que digo se desvanece. Yo sé que estoy vivo Entre dos paréntesis.´ If it is real the white light from this lamp, real the writing hand, are they real, the eyes looking at what I write? From one word to the other what I say vanishes. I know that I am alive between two parentheses.
We´re all more and more a-l-i-v-e now.)
- P.S.P.

credits

released January 1, 2015

Hear more here:
soundcloud.com/otaciliomelgaco

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O t a c í l i o
M e l g a ç o {conception | composition | arrangement | synopsis | instrumentation | orchestration | engineering & sound design | production | direction}

Special Guests: Nausícaaa Ensemble | Zycluz Quartett

Estúdio Yoknapotawpha/BR + Unidade Euromobile

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
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Official (English) Site
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"Music is like a bewitched Mistress." (Paul Klee)
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