Tuesday , September 27 2022

The melodies by Marcelo Camelo are the orchestra Music


It is not unusual to hear from musicians the recognition that the arrival of the baby in the hands has direct implications in the creative period that followed. Often, for convenience: when a small crying device with opera singing lips comes to sleep, the instruments soon realize that they have to make notes, a singing voice learns first, which must shake the silence of both of them. And the drastic descent of decibels in the ensemble creations is not unusual, not only because it is an unusual little creature – this blinded country is also not shy to appear in music – but above all it owes itself to the fair of two parts.

What is rarely – if not unique – is that someone who has spent his artistic life writing songs, some of them are already tangent to silence, sometimes sincerity that can only tame the energy and beauty that for a moment interrupts the threats of the outside world, Consider paternity as an invitation to put the guitar in the corner and choose as a project for the next two years writing a symphony. But that's exactly what happened with Brazilian musician Marcelo Camelo, a member interviewed by Los Hermanos and the author of two top solo albums (I am / me i Touch it). If the idea sounds a little crazy, it's because there is no denial of a nearly delirious gesture – a typical megalomaniac idea that, as a rule, loses any reason after a night's sleep (even if it's bad sleep).

In fact, we can correct and point out that the guitar is not pressed against the wall; he had already served to restore the melodies that, many months later, went to various orchestra clothes. But in Portugal, his daughter, singer Mallu Magalhaes, was born, so that Marcelo Camelo would experience a completely new experience in her career. First impressed, the musician tells Ipsilon because "the idea of ​​not traveling, for the need to be at home, is available for all aspects [da nova vida a três]"It was a tiredness that I traveled for many years and I wondered how I could make a record that did not mean a tour at this time in my life." And so, without giving himself time for great hesitation, he began to " at home, on couch, with television. "" Then part of the orchestration is needed for a little bit of dipping. "

Primitive, the first orchestral work by Marcelo Camel, available all on IUTube on Friday (other platforms will follow)

Before this life ruled as a composer in the service of colorful music, which allowed him to access the "normal life of most people" thanks to the fulfillment of the routine – "I always thought that this organization can awaken and have, on time, recognize – Marcelo Camelo has produced the latest albums Mallu and Momo, as well as a record in the family register signed by Ana Camelo in partnership with Luis Otavio (mother and uncle of musicians). During this period, when he allowed it to be disturbed by other projects, Marcelo matured with the idea of ​​composing a symphony Much more impressive than his experience was simply in co-authorizing metal arrangements for Los Hermanos albums Training for Written Music: No Experience in Orchestration: Zero But this did not stop him.

What he did was to equip himself with four basic resources: he took a course in composition and orchestration on the Internet, got acquainted with the language, and became acquainted with the "specifics of writing" different instruments; experimented with various compositional software until he found the one that best suited his start-up needs; listened to countless symphonies, analyzed the structure of the pieces and perceived the language with which he was recognized; and finally, the personal notion that each album corresponds to the learning process. "Being an artist is a profession in which those who are at risk, and those who are in contact with what they have never done should be rules," he says. "I'm not really attracted to the idea of ​​doing what I did right, just to show" See how I got it! "I think what brings me to the trip is, it's exciting that you have gained some knowledge while you're creating something. This is critical to me."

Romantic musician

Before we get to the composition Primitive – Marcelo Camel's first orchestral work, available on IouTube Friday (other platforms will follow) – Marcelo already "flirts with symphonic music for some time," he claims. But there was nothing that could be felt in a clear way: he counted on the collaboration of Brazilian classic pianist Clare Sverner on two topics I am / me and ordered an orchestral version of Tea and Seagull, opening the path of the same first solo album. The project was handed over by maestro Laercio de Freitas, but never exceeded the result, due to the lack of financial resources to continue recording which could give another body one of the most beautiful songs in the album in which the musician brilliantly studied his melodic instinct.

So far, Marcelo never exceeded the height of the imagination of the orchestra to interpret his music. And for months, Primitive was not much different because he drew notes on computer displays and was faced with the artificial reproduction of many hours of creation that returned headphones or columns. However, by this time, Marcelo has already progressed far enough to be affirmed and to learn through the practice a written language he naturally emphasized. "I think this comes from a lot of affinity, just as it happens with songs," he says. "Simply: you hear one thing and you love it more than the other." In your case, it's not long before you realize that your compositional writing does not share similar experiences of pop / rock musicians with symphonic things – such as Jonny Greenvood (Radiohead) or Brice Dessner (The National) – a rather adventurous aesthetic by these musicians follow.

However, it does not follow from this, however, that even the smallest aesthetic adventurer of the Brazilian symphony is a sign of weakness. None of this. It's just a symptom of outdated identification with a romantic period. Curious rather avant-garde musicians such as Derek Bailei, Fred Frith or Phil Minton, in the countries associated with jazz, Marcelo notes that "symphonic music from the past century has very little remnant of romanticism, almost all foreigners, experimental, noisier." "I also heard a lot from this group to try to see if it was a way, but I think my desire for composition is something like the music I did and I'm working on the guitar as much as I will sing. It has more to do with these melodies cause a sense of current beauty. I do not know how to describe it, if it's romantic, but it's more pleasant and less challenging. "

It's not entirely different with pop music, says Marcelo Camelo. It was always enchanting tragic melodies, "delicious to sing and whistle", they always lower the guards before the composition of Aria Barroso (and cite items such as In the lower ranch or In the garden of baiana) Dorival Caimmi, Assis Valente, Joao Gilberto (names to hurt my heart) or Tom Jobim. Like the songs, Marcelo appreciates "unknown melodic lines, shortened modes", but also in symphonic music is not so caught up in authors such as Ligeti or Penderecki, who are always returning often to names such as Ernesto Nazaret, Mahler or, above all, Brahms. "Symphonies, in general, have unforgettable moments," he says, "it is difficult to achieve a symphony that is all remembered, unless Brahms is." His poem is like a song, you can sing the entire movement, and I think it makes him a unique composer. "

In a way, Marcelo Camelo also feels like a unique composer. Not in the same commendable sense he attributes to Brahms, but in a lonely state in which he interfered in the creation of a symphony so far away from contemporary copyright practices. So much, feeling like a foreigner and a real outsider in the middle of classical music, "without any contact with contemporary composers," he sketched the same internet (where he discovered many answers to the doubts that he was on the way), in search of "couples" ages similar to the creation of aesthetics that came down to disturbances and arranged on the shelves of Music History. "I did not find much," she says. "Actually, I did not find anyone," laughs.

Music music Primitive He was born from a vast free space that Marcello could complain about because he was not obligated to respect the Academy's mandates and "dedication to innovations" that takes the general attention of new contemporary creations. This is also because the Brazilian was able to choose a point in the time line that begins, for example, in Bach and even because he did not put his head in books and studied thoroughly the movements that are taking place in the history of music, for example Esa- Pekka Salonen, without having to think as a continuation of tradition. Instead, it could be said that Marcelo Camelo shows a finger to the nineteenth century and deals with music in a romantic period, sharing Brahms, Tchaikovsky or Dvorka air. But without any valuables, because the first notes Primitive can also send us effortlessly to send symphony music that is used in the cinema by composers like Nina Rota or Henri Mancini.

This weight that the past of the tongue can have on your music is a little worrying for Marsel Camelo. To the repeated idea that "melodies are already closed because the notes are final," the musician replies that it is the same as "ideas are finished, because the words are finite." In addition, he believes that "there is a reorganization and distribution of this information" romantic according to the recommendations of our time. "We do not have any of these composers as a classics," he argues, "listening to the Beatles, none of them have seen movies." Even if it was not for this reason, symphony music Marcelo Camelo could never have been just reproduction of the template from another time.

End and start

Freeing himself that he did not have to write texts that would accompany music and could endure performing performances as an interpreter, Marcelo Camelo admits that the great challenge he faced when switching from pop music to written music concentrated as a scientist is the amount of ideas that the composition of the symphony forced to accumulate. That is, when in the song two melodic ideas are sufficient to build a complete structure that lasts for three minutes, repeating the verse and keeping as many times as necessary when compiling the result Primitive He was surprised when he "condensed many months of composite music, went to the score, began to orchestrate and discovered that he had a minute and a half of music".

The records are piled up until about four movements organized under the intensity of the cycle are distributed. Not only because this is an understanding that Marcelo Camelo makes the structure of the symphony, but also because the last two years of his life have led him to deal with the birth of his daughter and the loss of his older brother. Primitive it begins with the melancholy of unforeseen death and progresses to the discovery of light in the last moments.

It's all that Marcelo Camelo took with him to Prague, renting for one day (personal budget did not allow extra extravagances) to the Citi of the Prague Philharmonic Orchestra and finally to experience a lifelong song that lived for only two years within your head. After some "struggle" of the conductor and music that established the connection with the orchestra, in which it was first subjected in this way, and made the necessary corrections, Primitive it sounded and did not sound like what the musician imagined. But Marcel's happiness was priceless because he completed his work to the end and created a registry that reminded him that it was all real and materialized the whole process of learning. However, if Rubber Soul Rubber Soul, comparing the weight of the phonographic record in the pop and classical world with orchestral pieces, their full existence will occur every time a new version, directed by another conductor, passes through the hands of another orchestra.

Although it was not decided whether the next step in his career would be the new album of songs or the conclusion of a sonata already in progress, his hope is that this will be enchanting Primitive Get to know the different lives of the one who now shares the world. This is just a way for Marcelo Camelo to perform as a composer. Now she's in the world to answer.

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