S t e n d h a l S y n d r o m e (EP)
O t a c í l i o M e l g a ç o
[duration 27:54] all rights reserved
{This phonograph album forms a Trilogy with
ヒ ッ グ ス 粒 子
and
S t e a m P u n k}
#
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)
+
"When we confronted with immense beauty in the Melgaço´s natural - and, etymologically, supernatural - World. Original title in Swedish, this enigmatic Extended Play brings us gems for Flutes and supporting instruments. Stendhals Syndrom. ´When an individual is exposed to an experience of great personal significance, particularly viewing art
...´ Having Melgaço as a Guide (or Oracle?) particularly and especially
LISTENING Art!
Guide, Oracle and, without the slightest doubt, Healer." (Caio Campbell; Anglo-Brazilian semiologist and musician)
"In Stendhal's 1822 classic On Love he describes or compares the ´birth of love´, in which the love object is 'crystallized' in the mind, as being a process similar or analogous to a trip to Rome. In the analogy, the city of Bologna represents indifference and Rome represents perfect love:
When we are in Bologna, we are entirely indifferent; we are not concerned to admire in any particular way the person with whom we shall perhaps one day be madly in love; even less is our imagination inclined to overrate their worth. In a word, in Bologna ´crystallization´ has not yet begun. When the journey begins, love departs. One leaves Bologna, climbs the Apennines, and takes the road to Rome. The departure, according to Stendhal, has nothing to do with one’s will; it is an instinctive moment. This transformative process actuates in terms of four steps along a journey:
1.Admiration – one marvels at the qualities of the loved one.
2.Acknowledgement – one acknowledges the pleasantness of having gained the loved one's interest.
3.Hope – one envisions gaining the love of the loved one.
4.Delight – one delights in overrating the beauty and merit of the person whose love one hopes to win.
This journey or crystallization process (shown above) was detailed by Stendhal on the back of a playing card while speaking to Madame Gherardi, during his trip to the Salzburg salt mine.´
Admiration & Acknowledgement & Hope & Delight: four words, four perceptions, four concepts, four verdicts that define with perfection a hypnotic and crystalline and crystallized treasure - ´Stendhals Syndrom´.
Post Scriptum - Even in the context of Cities, instrumentalist and composer's inventiveness is uncommon to describe the Florence syndrome. The four Pieces sometimes with extreme candor sometimes unsettling, palpitating sometimes hallucinatory...represent a trustworthy musical portrait of stendhalian ´state´.
Hyperkulturemia|Hipersound.
Between scarlet, red and black and pink and green and all ´coloratura´ exploited by Melgaço, no more disorder psychosomatic conditions (racing heart beat, nausea and dizziness) although also configured on your Extended Play. Otacílio signals that when we are faced with the Great Art, disruption may even be necessary - causing (syndromic) suffering as occurs in many births - but fugacious. Can and must change our habitual state, sure, but there is more. Much more. Face to face with the Great Art, postpartum, we´ll be raptured, transubstantiated! Even in context
- from invisible to visible Cities | from visible to audible Cities -,
O.M. proves to us - through his rare artistic talent - that one day we may all be Romans.
Romans no longer made of flesh and blood, but crystal." (Pablo S. Paz; Argentinean musicologist)
&
I - Stendhal syndrome, Stendhal's syndrome, hyperkulturemia, or Florence syndrome is a psychosomatic disorder that causes rapid heartbeat, dizziness, fainting, confusion and even hallucinations when an individual is exposed to an experience of great personal significance, particularly viewing art. The term can also be used to describe a similar reaction when confronted with immense beauty in the natural world.
II - The illness is named after the famous 19th-century French author Stendhal (pseudonym of Henri-Marie Beyle), who described his experience with the phenomenon during his 1817 visit to Florence in his book Naples and Florence: A Journey from Milan to Reggio.
When he visited the Basilica of Santa Croce, where Niccolò Machiavelli, Michelangelo and Galileo Galilei are buried, he saw Giotto's frescoes for the first time and was overcome with emotion. He wrote "I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen. Absorbed in the contemplation of sublime beauty... I reached the point where one encounters celestial sensations... Everything spoke so vividly to my soul. Ah, if I could only forget. I had palpitations of the heart, what in Berlin they call 'nerves.' Life was drained from me. I walked with the fear of falling." Although there are many descriptions of people becoming dizzy and fainting while taking in Florentine art, especially at the Uffizi, dating from the early 19th century on, the syndrome was only named in 1979, when it was described by Italian psychiatrist Graziella Magherini, who observed and described more than 100 similar cases among tourists and visitors in Florence. There is no scientific evidence to define the Stendhal Syndrome as a specific psychiatric disorder; on the other hand there is evidence that the same cerebral areas involved in emotional reactions are activated during the exposure to artworks.
...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a 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.
