H i l s t S y m p h o n y
O t a c í l i o M e l g a ç o
[duration 48:44] 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. ´Hilst´ is part of that Cycle.
From the same country as Otacílio, she is one of the most studied writers by academics around the world. In fact Hilda was not popularized among a more massive audience because to me: Hilst chose a Persona of a hidden nature however (paradoxically) inundated with a fascinating cosmopolitanism. That deserves all the overflows.
Hilda de Almeida Prado Hilst (1930 - 2004) was versifier, playwright and novelist, whose fiction and poetry often drew upon themes of delicate intimacy, while also addressing the topic of insanity and incorporating supernatural events. Also eroticism, and female sexual liberation. Several of her late works include elements of marvelous realism. She greatly revered the work of James Joyce and Samuel Beckett and the influence of their styles like stream of consciousness and fractured reality in her own work.
´Delicate intimacy, insanity, supernatural events, magical realism, eroticism´ ... all is quite providential to try to define this medullary & ethereal Symphony!" (Caio Campbell; Anglo-Brazilian semiologist and musician)
"Each of the poetical four movements is a Saga in itself. And at every split second there´s a sense of ascension that takes the very sound substratum to its almost physiologically inaudible limit.
An Ultra Artistic Face of Instrumental Transcommunication!" (Pablo S. Paz; Argentinean musicologist)
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I - Hilda Hilst wrote for almost 50 years, and collected the most important Brazilian literary prizes. Her work proceeded in several stages: she began as a poet, publishing Presságio in 1950; started publishing and staging plays in 1967; and shifted into prose in 1970, with her experimental text Fluxo-Floema. Throughout her career, beginning in 1958, with Adoniron Barbosa, musicians selected poems of hers to be set to music.
In 1962 she won the Prêmio PEN Clube of São Paulo, for Sete Cantos do Poeta para o Anjo (Massao Ohno Editor, 1962). In 1969, the play O Verdugo took the Prêmio Anchieta, one of the most important in the country at the time. The Associação Brasileira de Críticos de Arte (APCA Prize) deemed Ficções (Edições Quíron, 1977) the best book of the year. In 1981, Hilda Hilst won the Grande Prêmio da Crítica para o Conjunto da Obra, by the same Associação Brasileira de Críticos de Arte. In 1984, the Câmara Brasileira do Livro awarded her the Jabuti Prize for Cantares de Perda e Predileção, and the following year the same book claimed the Prêmio Cassiano Ricardo (Clube de Poesia de São Paulo). Rútilo Nada, published in 1993, took the Jabuti Prize for best short story, and finally, on August 9, 2002, she was awarded at the 47th edition of Prêmio Moinho Santista in the poetry category.
From 1982 to 1995 Hilst participated in the Programa do Artista Residente (Artist-in-Residence program), at the Universidade Estadual de Campinas - UNICAMP. Since 1995 her personal files have been in IEL-UNICAMP and are available to researchers worldwide.
In several of her writings Hilst tackled politically and socially controversial issues, such as obscenity, queer sexuality, and incest. The tetralogy that comprises O caderno rosa de Lori Lamby and Contos d'escárnio. Textos grotescos (1990); Cartas de um Sedutor (1991); and Bufólicas (1992), includes overtly pornographic material, if not "pornography" per se. She explored theological issues in her work as well;
II - A number of Hilst's books were originally published by smaller Brazilian publishers, but beginning in 2001, Editora Globo, the publishing branch of the Brazilian media organization Globo, began reissuing nearly all her works, as part of its Coleção Reunidas de Hilda Hilst. Some of her texts have been translated from Portuguese to French, English, Italian and German. In March 1997, her works Com meus olhos de cão and A obscena senhora D were published by Éditions Gallimard, translated by Maryvonne Lapouge. A obscena senhora D was translated into English as The Obscene Madame D collaboratively by Nathanaël and Rachel Gontijo Araújo, and published jointly by Nightboat Books in New York and A Bolha Editora in Rio de Janeiro in 2012. In 2014, Letters from a Seducer, John Keene's translation of Brazilian Hilda Hilst's 1991 novel Cartas de um sedutor, was published by Nightboat Books and A Bolha Editora, and With My Dog Eyes, Adam Morris's translation of Hilst's 1986 novella Com os meus olhos de cão, was published by Melville House.
...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.
