K l i n k S y m p h o n y

O t a c í l i o M e l g a ç o

[duration 01:11:59] 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. ´Klink´ is part of that Cycle.

The symbolic meanings of the number four are linked to those of the cross and the square. ´Almost from prehistoric times, the number four was employed to signify what was solid, what could be touched and felt. Its relationship to the cross (four points) made it an outstanding symbol of wholeness and universality, a symbol which drew all to itself´. Where lines of latitude and longitude intersect, they divide the earth into four proportions. Throughout the world kings and chieftains have been called ´lord of the four suns´...´lord of the four quarters of the earth´... by which is understood to the extent of their powers both territorially and in terms of total control of their subjects' doings.

Jonathan Lowe argues in The Four-Category Ontology, for four categories: kinds (substantial universals), attributes (relational universals and property-universals), objects (substantial particulars), and modes (relational particulars and property-particulars).

Franz Brentano held that any major philosophical period has four phases: (1) Creative and rapidly progressing with scientific interest and results; then declining through the remaining phases, (2) practical, (3) increasingly skeptical, and (4) literary, mystical, and scientifically worthless – until philosophy is renewed through a new period's first phase.

The Stoics held with four basic categories, all viewed as bodies (substantial and insubstantial): (1) substance in the sense of substrate, primary formless matter; (2) quality, matter's organization to differentiate and individualize something, and coming down to a physical ingredient such as pneuma, breath; (3) somehow holding (or disposed), as in a posture, state, shape, size, action, and (4) somehow holding (or disposed) toward something, as in relative location, familial relation, and so forth.

Aristotle held that there are basically four causes in nature: the efficient cause, the matter, the end, and the form.

The 4 movements of the ´Klink Symphony´ have 4 families of instruments such as strategic baptism (of blood or azure ocean sap):

1 - Percussion;

2 - Woodwind;

3 - Brass;

4 - String.

Are, according Otacílio Melgaço, ritualistic phases of maritime journeys perpetrated by the honored Amyr Klink. Respectively

1 - THE Inspiration, Projects and Preparation still on land. (The growing palpable/tactile Cycle represented by the
p-e-r-c-u-s-s-i-o-n);

(shrewd mergers between various floodly percussive colors and electronics)

2 - THE Making of his Boat (made of symbolic/archetypal
w-o-o-d;
as from cosmogonic Klinkian blow,
w-i-n-d)
and every vital Details gaining Concretion;

(harmony is fragmented, the chords become sound drops that we return to give them an oceanic sense while the hearing occurs)

3 - THE Boarding and the Beginning of the Saga
under the metallic Breath
(b-r-a-s-s)
of the Sea Winds;

(the need for an almost superhuman concentration and naturally the superhuman abstraction - with which we´re blessed by ´The Big Blue´ - are expressed by a perfect sonic texture here)

4 - THE Lancinating, sharp Apex
(s-t-r-i-n-g-s)
of its undulating Challenges - the (predestined) Arrival to Destination and, finally, the Harbinger of Return...

(the sensibilization proposed by poignant strings is masterful; we embarked on a matchless multi-sensory and even spiritual elevation)

Only there is no return, fortunately, for those who embark on this stupendous ultramarine symphonic Piece. No one escapes unscathed of necessary odysseys. New tales from topographic oceans... So - while Melgaço leads us to his fathomless sonic Seaway and, perchance, to the thoroughness of ´who we are´ - raise our hands to the heavens... ´There are more things in Heaven and Earth´, ladies and gentlemen, ´than are dreamt of in´ our ´philosophy.´
In Heaven,
Earth and - an abyssal addendum -
the Melgacian Pelago!" (Pablo S. Paz; Argentinean musicologist)

"In cover art there´s an almost Yves Klein Blue. Everything - there - dawns or follows the course of the crepuscular pelagius night... Metaphorically no difference?

May we hear the voice of him who is honored by Otacílio Melgaço through an aqueous Symphony:

´The worst wreck is not getting out of the place.´ (A.K.)

´The sea is not an obstacle: it is a way.´ (A.K.)

´I began to think about the meaning of loneliness. An inner state that is independent of the distance ... or isolation; a void that invades people ... and that the companionship or simple human presence can not fill. Loneliness was the only thing that I never felt after I left ... never ... in no time. Was, yes, I was attacked by a voracious longing. Everything and everyone, things and people that have long not seen. But missing, yearning sometimes is good for the heart. Values the feelings, lights hopes and turn off distances.´ (A.K.)

´A man needs to travel. By his own means, not by stories, images, books or TV. By his own, with his eyes and feet, to understand what he is. To some day plant his own trees and give them some value. To know the cold to enjoy the heat. To feel the distance and lack of shelter to be well under his own ceiling. A man needs to travel to places he doesn't know to break this arrogance that makes us see the world as we imagine it, and not simply as it is or may be. That makes us teachers and doctors of what we have never seen, when we should just be learners, and simply go see it.´ (A.K.)

And simply go hear it.

Amyr Klink was often a lone traveler. His aquatic nomadism is synonymous with the deepest search for self-knowledge. A man between two poles. Between the sky and the sea. He and the harbors in the world. The dreams, risks and opportunities management. Building the future. Crossing the waterline. He in the endless sea. There´s a Siamese lot amid Klink and Melgaço. Both are - existentially, bravely, artistically, metaphorically - between nothingness and eternity... Both are amongst the endless and the sea...

But what about us? And we? Just as lifelong learners - from nautical rhythm; at high tide; exploring the arcanum of the five oceans; sailing under the guidance of the stars; over the sacred mantle of the ´tamer of horses´ Poseidon - simply we should go hear it!" (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Amyr Klink (1955) is an explorer and sailor. One of his projects, "Antarctica 360", was circumnavigating the Antarctic continent on his own, in 79 days in 1998.

Klink has written seven books about his voyages, including Between Two Poles about his trip from Antarctica to the Arctic Pole, starting in 1989 and taking 642 days. Klink helped in the construction of the polar vessel used in this trip, named Paratii after the town of Paraty in the state of Rio de Janeiro, Brazil.

Amyr Klink was the first person to row across the South Atlantic, leaving from Lüderitz, Namibia on 10 June 1984 and arriving 100 days later in Salvador, Brazil on 18 September 1984. His chronicles 100 Days Between Sea and Sky reports on the journey, during which he rowed a small boat with his arms from Africa to the state of Bahia in Brazil. The food portions in this trip were compacted into packages of freeze-dried food, especially designed for him by a food processing company in Brazil.

In 2002, Klink has completed an experimental phase of one of his project "A Trip to China" – a trip around the world through a maritime path that had never been explored before: the Arctic Circle. The project's first phase was successfully accomplished between January 30 and April 6, 2002: Klink and crew left the Antarctic Circle, visiting Margarida Bay in the Bellingshausen Sea (in the extreme south of the Antarctic Peninsula). From there, the ship stopped in South Georgia before returning to Brazil.

Amyr was born to a Lebanese father and a Swedish mother. He moved to Paraty when he was two. Klink is a member of the Royal Geographic Society;

II - 葛飾北斎 or Katsushika Hokusai (1760 |exact date questionable| – 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 - Fugaku Sanjūroku-kei, c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.

Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, "Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series...". While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition.

...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.