We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.

Goeldi Symphony {Otac​í​lio Melga​ç​o} [duration 49​:​41]

by Otacílio Melgaço

/
  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      $6 USD  or more

     

1.
2.
3.
4.

about

G o e l d i S y m p h o n y

O t a c í l i o M e l g a ç o

[duration 49:41] all rights reserved

#

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)

+

"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. ´Goeldi´ is part of that Cycle.

I believe that O.M. is entitled to a level that, for being so intrinsically humanistic, could claim a mystical glow. In his music [paraphrasing Moore & Campbell] movement and yet the absence of motion. There´s no space. No time, and hence nothing (professedly) moves ... in fact, much more than that: there ... everything EXISTS." (Pablo S. Paz; Argentinean musicologist)

"Oswaldo Goeldi words:

´Each trace is
a piece of nerve
with the vehemence
of a barbarian heart.´

Were the woodcuts that consecrated him. The prevalence of black hue - & murky spectrum, gloomy themes - is indelible in his xylogravures (at least in the penetrative eyes - and ears - of Otacílio). Of all the Melgacian symphonies, this is the most blackened, no doubt.

B l a c k – ´Not without possibilities […] like an eternal silence...´, according to Kandinsky.

Otacílio Melgaço reaches here the barbarian heart of ´obscurative´ silence! Vehemently strikes the most neuralgic point of such darkling and invaginating sonic Piece." (Caio Campbell; Anglo-Brazilian semiologist and musician)

&

I - Oswaldo Goeldi (1895 – 1961) was a Brazilian artist and renowned engraver. He was the son of Swiss naturalist Émil Goeldi.

Goeldi was born in born in Rio de Janeiro, but lived in Belém, in the state Pará, until he was 6 years old. His father was based there as director of the Museu de História Natural e Etnografia do Pará (presently the Emílio Goeldi Museum). In 1910 his family returned to Switzerland and he started his studies in Bern, and later in Zurich. After serving for a brief period in the army during the First World War, Goeldi moved to Geneva, where he was accepted at the École des Arts et Métiers. Frustrated with the academic environment, he abandoned the school after his father’s death in 1917 and began studying with artists Serge Pahnke (1875-1950) and Henri van Muyden (1860-s.d.), and later with Hermann Kümmerly, with whom he learned lithography.

In 1919 Goeldi returned to Rio de Janeiro and began a career of engraver and illustrator for popular magazines. He became attached to a group of vanguardist artists and intellectuals, such as Beatrix Reynal, Aníbal Machado (1894-1964), Otto Maria Carpeaux (1900-1978), Manuel Bandeira (1884-1968), Álvaro Moreyra (1888-1964), Ronald de Carvalho (1893-1935), Emiliano Di Cavalcanti (1897-1976) and Rachel de Queiroz (1910-2003). During this period, he worked intensely as an artist and did his first individual exposition, which was, however, poorly received by the art critics. Wounded by the criticisms, Goeldi withdrew from the artistic scene and isolated himself in the city of Niterói. Solitary, he supported himself more and more as a well known illustrator for book editions and magazines, working mainly with xylogravures. He also became estranged from his family in 1922, refusing their appeal to return to Europe. He took part in the Week of Modern Art in São Paulo that year. His first album, “10 Gravuras em Madeira” was edited in 1930, allowing Goeldi to save enough money to return to Europe en 1931. He exposed in Bern and Berlin, and visited again his great inspirators, Alfred Kubin and Hermann Kümmerli.

In the following decades, after returning to Brazil, Goeldi’s artistic prestige was strengthened, and he was accepted at the 25th Venice Bienal in 1950. He became nationally and internationally known and got his first prize, in the First International Art Bienal of São Paulo, in 1951. From 1952 until his death, Goeldi became a respected and influential art teacher in the Escola Nacional de Belas Artes.

He died on February 15, 1961, alone in his small apartment in Rio.

Goeldi's work has been exposed post-humously in more than a hundred expositions in Brazil, Argentina, France, Portugal, Switzerland and Spain;

II - www.centrovirtualgoeldi.com

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

\|/

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 May 5, 2015

Hear more here:
soundcloud.com/otaciliomelgaco

>>

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 | production | direction}

Special Guests: Nausícaaa Ensemble | Zycluz Quartett

Estúdio Yoknapotawpha/BR + Unidade Euromobile

<<

license

all rights reserved

tags

about

Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
+
Official (English) Site
otaciliomelgaco.wixsite.com/omenglish
+
PORTAL O|M
(Portuguese)
otaciliomelgaco.wixsite.com/otaciliomelgaco
+
Site to be viewed exclusively on Mobile Devices (smartphones, etc.)
otaciliomelgaco.wixsite.com/mobileom
&
"Music is like a bewitched Mistress." (Paul Klee)
... more

contact / help

Contact Otacílio Melgaço

Streaming and
Download help

Report this album or account

Otacílio Melgaço recommends:

If you like Otacílio Melgaço, you may also like: