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Dos C​â​nticos De Maldoror {Otac​í​lio Melga​ç​o} [duration 02​:​36​:​54]

by Otacílio Melgaço

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D o s C â n t i c o s D e M a l d o r o r

O t a c í l i o M e l g a ç o

[duration 02:36:54] 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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"´Like the atomistic elements of a ray of light penetrating a dark room!´ Or maybe like the darkness taking over everything and everyone as a ruthless and seminal radius! Radiusonic!
Colossal melgacian musical Piece - full of noise and soundscapes coupled to [´spherical and convex surface´] the usual timbre and multi-harmonic plurality [´spiral(ized) and concave surface´] of the Brazilian composer and instrumentalist. Signs.
´Signs, meanings in music, happen essentially through the connotations of sounds, and through the social construction, appropriation and amplification of certain meanings associated with these connotations.´ The rare ability to translate the collective (un)conscious... Concoction of a wild and overflowing imagination, echoing Isidore-Lucien Ducasse, ´Dos Cânticos De Maldoror´...as beautiful as the random encounter between an umbrella and a sewing-machine upon a dissecting-table! In other words, phenomenological audible invention in celebration of infinity signic! Or, if you prefer, convulsive beauty!
Are you convulsively ready? Are you experienced (or intend to be)? Welcome!" (Pablo S. Paz; Argentinean musicologist)

"´At the beginning and end of the cantos, the text often refers to the work itself. Lautréamont also references himself in the capacity of the author of the work. Isidore is recognized as the ´Montevidean´. In order to enable the reader to realise that he is embarking on a ´dangerous philosophical journey´, Lautréamont uses stylistic means of identification with the reader, a procedure which author Baudelaire already used in his introduction of Les Fleurs du mal. He also comments on the work, providing instructions for reading. The first sentence contains a ´warning´ to the reader:

´God grant that the reader, emboldened and having become at present as fierce as what he is reading, find, without loss of bearings, his way, his wild and treacherous passage through the desolate swamps of these sombre, poison-soaked pages; for, unless he should bring to his reading a rigorous logic and a sustained mental effort at least as strong as his distrust, the lethal fumes of this book shall dissolve his soul as water does sugar.´ The lethal fumes of this record shall dissolve his soul as water does sugar... - adequate words to also define the power of melgacian compositions in focus.

Taking into account the countless artistic works inspired by Comte de Lautréamont and his Songs of Maldoror, I attest categorically that this creation of O.M. is among the top! The wealth of detail, the inventive breadth confirms the enormous stature of this phonographic treasure! Challenging, audacious, polysemic, dazzling, orgiastic...are appropriate predicates. in fact I can ratify an unquestionable issue: here, being Melgaço between Nietzsche and Dostoyevsky, (sonically) Everything is Permitted! Extraordinary Music turned inside out!" (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Les Chants de Maldoror (The Songs of Maldoror) is a poetic novel (or a long prose poem) consisting of six cantos. It was written between 1868 and 1869 by the Comte de Lautréamont, the pseudonym of the Uruguayan-born French writer Isidore-Lucien Ducasse. Many of the surrealists (Salvador Dalí, André Breton, Antonin Artaud, Marcel Duchamp, Man Ray, Max Ernst, etc.) during the early 20th century cited the novel as a major inspiration to their own works.

It is difficult to summarize the work because it does not have specific plot in the traditional sense, and the narrative style is non-linear and often surrealistic. Much of the imagery was borrowed from the popular gothic literature of the period, in particular Lord Byron's Manfred, Charles Maturin's Melmoth the Wanderer and Goethe's Faust.

II - fr.wikisource.org/wiki/Les_Chants_de_Maldoror (Original French text)

...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.

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 | art design [O.M., after Brauner] | 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
otaciliomelgaco.wixsite.com/omenglish
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PORTAL O|M
(Portuguese)
otaciliomelgaco.wixsite.com/otaciliomelgaco
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Site to be viewed exclusively on Mobile Devices (smartphones, etc.)
otaciliomelgaco.wixsite.com/mobileom
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"Music is like a bewitched Mistress." (Paul Klee)
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