C h â t e a u D e L a c o s t e

O t a c í l i o M e l g a ç o

[duration 14:14] 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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"An important introduction through historical retrospection:

The Château de Lacoste or La Coste is a ruined castle in the commune of Lacoste in the Vaucluse département of France.

The castle's origins are in the 11th century, but it was largely modified in subsequent centuries.

It was for many years the property of the Simiane family.

Two hypotheses are suggested for the transfer of the castle from the Simianes to the Sades.

In 1627, Diane Simiane married Jean-Baptiste de Sade, ancestor of the Marquis de Sade, who thus became owner of the estate.

In 1716, Isabelle Simiane bequeathed the castle to her cousin Gaspard François de Sade, Lord of Saumane and Mazan. This latter hypothesis is the most probable.

The Marquis de Sade stayed there from 1769 to 1772, between the scandals at Arcueil and Marseille, then after the latter and his flight to Italy, he took refuge there until his incarceration in the Château de Vincennes in 1777. Escaping while being transferred to Aix, he took refuge there for the last time from 16 July to 7 September 1778 before being returned to Vincennes.

It was in 1772 that he made his longest stay there, during which he built in the castle a theatre capable of holding 120 spectators. Throughout his internments, he maintained an extraordinary attachment (un attachement extraordinaire) for La Coste.

The Divin Marquis described his castle in two of his works – ´La Marquise de Ganges´ and ´Les cent vingt journées de Sodome´ (´The 120 Days of Sodom´) – under the name of the Château de Silling.

(...)

In 2001, Pierre Cardin bought the castle. But his second residence is being renovated. In summer each year, he organises a musical artistic festival in the quarries to the west of the chateau.

Now we're going to find out, then, from a prism of singular artisticity and haute couture, what musically and sadistically Mr. Melgaço, under idiosyncratic auspices, conveys to each one of us.

Now, more than the misfortunes of the virtues of a summer festival: a ritualistic resounding carnival; a reverberant libertine masked ball; the audible fraternal cruelty of a surreal bacchanal; or, if you prefer, between the morally preceptive ringing alcoves (where they will be heard): the stratagem of heroic and tragic and ´l-o-v-e-l-y´ Melgacian sonorities!" (Caio Campbell; Anglo-Brazilian semiologist and musician)

"P o i n t & C o u n t e r p o i n t:

´Your body is the church where Nature asks to be reverenced.´ (Marquis de Sade)

In my opinion, ´Château de Lacoste´ forms a diptych with ´Le Sexe de Dada´.

melgacootacilio.bandcamp.com/album/le-sexe-de-dada-otac-lio-melga-o-duration-21-43

Two natural, reverenciable and churchly (interpenetrated) sonic bodies.

´Destruction, hence, like creation, is one of Nature's mandates.´
(Marquis de Sade)

´Les quatorze minutes et quatorze secondes de Sodome´ (´The 14:14 of Sodom´). This could be the subtitle of ´Château de Lacoste´. Fourteen minutes and fourteen seconds along which ... Construction and Destruction - in the deepest ecstatic, aesthetic, philosophical and sadistic sense - become lustfully indiscernible!

´Variety, multiplicity are the two most powerful vehicles of lust.´
(Marquis de Sade)

´Château de Lacoste´: The Divine Melgacian Gangesilling Music." (Pablo S. Paz; Argentinean musicologist)

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I - The castle is sited on an extension of the northern flank of the Little Luberon on which the village stands. This position offers its occupants superb views over the valley of the Calavon, the Monts de Vaucluse, Mont Ventoux and the Alps, as well as the village of Bonnieux which can be seen on a neighbouring hill;

II - During the French Revolution, the castle was vandalised and largely destroyed. The construction materials were sold.

Crippled with debts, in year IV of the Republic (1796) the castle and its estate were sold to Rovère, deputy of Vaucluse and a native of Bonnieux, who, a victim of the Coup of 18 Fructidor, was deported to French Guiana where he died at Sinnamary in 1798.

In 1952, André Bouer, college teacher, became the owner and dedicated himself to the castle's restoration;

III - The castle has been listed since 1992 as a monument historique by the French Ministry of Culture. Protection covers the castle itself, the courtyards and the dry moats;

IV - lemotetlachose.blog.lemonde.fr/files/2014/06/Sade-lamantdeslumieres_bronze-Lacoste-Alexandre-Bourganov_copyright_Jean-Pascal-Hesse.jpg

...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a 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.