It is not unusual to hear from the orchestra and the confession that there are direct implications for the advent of a baby in his arm in the creative period that followed. Often, for practical reasons: when an opera singer's lungs with a small crew device sleep, the instruments will soon realize that they have to carve the notes, the singing voice learn the first one who has to shake the silence over good both. And so the serious fall of decibels in the creatures that are not unusual, is the result of not just being unmistakable – this state is also incredible to appear in music – but mostly in debt to a fair balance of two parts.
What's rare – if not unique – is that someone who has spent his artistic life writes songs, some of them are already tightening to silence, sometimes a song that can be stimulate energy and beauty that, for seconds, the threats of the outside world, consider paternity as an invitation to put the guitar in a corner and to elect as a project for the next two years to write a symphony. But that's what happened with Brazilian musician Marcelo Camelo, a member of the wonderful Los Hermanos and author of two great solo albums (I / N a Touch her). If the idea sounds sorry, it's not because the denial of the gesture is almost not interesting – the typical fegalomanic idea, usually, loses any reason after sleeping night (up to date age if it is poorly slept).
In fact, we can correct and note that the guitar was not pressed against the wall; but rather serve on its strings, the melodies that, many months later, were transferred to different orchestra suits. But I was born in Portugal, his daughter with the singer Mallu Magalhães, to push Marcelo Camelo towards a completely new experience in her career. First, the musician tells Ípsilon, because "the idea of not traveling, for the need to be at home, is available for every aspect [da nova vida a três]"" These dresses had traveled for many years and I thought how we could make a record that did not mean a journey right now in my life. "And thus, without giving himself time for a big boost , started "many at home, on the sofa, with the TV on. "" Then, part of the orchestration is that you need to dip a little more. "
Before starting the life of this composer when serving written music, which allowed him to go to "most people's normal life" thanks to the practice – "I was always eager for this organization to be able to wake up every day and have a certain time to do some work ", admitted – Marcelo Camelo still produced the latest albums from Mallu and Momo, as well as a disc in a family register that was signed by Ana Camelo in partnership with Luis Otávio (mother and uncle of the musician). Throughout this period, when he allowed to be pointed out by other people's projects, Marcelo matured with the idea of composing a symphony, so much more impressive than his experience was to co-authorize metal arrangements for the Los Hermanos Album. Training in written music: no. Experience in musical work: zero. But that did not stop it.
What he did was equipped with four basic tools: he took a course in composing and online orchestra, to become familiar with the language and to learn about the "specific features" of the various instruments; He experimented with various constitutional software until he found the one that suited his initial needs; He listened to numberless symphonies, analyzing the structure of the pieces and founding the language that he indicated himself was more evident; and, finally, the personal idea that every album results in a learning process. "Being an artist is a profession where those who are at risk and those in contact with them have never been the rules," he said. "I do not really attract the idea of doing what I've done to do it right, just to show it! Look how I'll get it! I believe that the thing that makes me feel it's the learning trip. It's encouraging to get some information in creating something. This is essential for me. "
Before moving on to a constitution Primitive – Marcelo Camelo's first orchestral work, which is fully available on this Friday on YouTube (other platforms will follow) – Marcelo was already "relaxing with symphonic music for a long time," he said. But there was nothing that could be felt clearly: he had counted on the collaboration of Brazilian classic pianist Clara Sverner on two themes of I / N and an orchestra version of Téo and the nail was commissioned, an opening track of the first single album. The project was given to the maestro Laércio de Freitas, but it never exceeded the score, due to lack of financial means to carry on a recording that can give another body to one of The most beautiful songs of that album where the musician looked great. her melodic instinct.
So far, Marcelo has not gone beyond hanging in the imagination, orchestra sound to interpret his music. And for many months, Primitive it was not quite different as it drew notes on computer displays and it was faced with artificial reproduction of hours returned by headphones or columns. However, Marcelo, however, has already developed a long distance to confirm himself and to learn, by practicing, the written language that he naturally tended to. "I think this comes from a lot of relationships, just like what's happening with songs," he said. "Simple: hear one thing and you like it more than one." In your case, it's not long before realizing that your compositional writing does not share similar experiences of pop / rock musicians with symphonic work – cases, for example by Jonny Greenwood (Radiohead) or Bryce Dessner (The National) – the slightly adventurous aesthetics these followed by these musicians.
It does not follow, however, that the smallest adventure is the smallest aesthetic campaign in the Brazilian symphony. None of this. It is only a symptom of latest knowledge with the romantic period. Appreciate avant-garde musicians as well as Derek Bailey, Fred Frith or Phil Minton, in the jazz-related lands, Marcelo says that the symphonic music of the last century has very few remains of romance, Almost all are stranger, more experimental, noisy. "" I have also heard many of this group trying to see that and that way, but I think that my desire to compose is similar to & # 39; The kind of music I made, and I'll do it on the guitar how much I'm going to sing. He has more to do with these melodies that cause a sense of direct beauty. I do not know how to describe it, if it's romantic, but something more readily and less challenging. "
It's not very different with pop music, says Marcelo Camelo. He was always fascinated by tragic melodies, "weird to sing and whistle", always dropped the guards before the compositions of Ary Barroso (and dictating subjects such as In the bottom or At the baiana tray) Dorival Caymmi, Assis Valente, João Gilberto (names to hurt my heart) or Tom Jobim. In the same way as the songs, so, Marcelo appreciates "strange melodic lines, more horrible ways", but also symphonic music is not caught up in writers such as Ligeti or Benderecki, always return more often names like Ernesto Nazareth, Mahler or, above all, Brahms. "Symphonies generally have memorable moments," he said, "it's hard to achieve a totally memorable symphony. Unless it's Brahms. Its song is a song, you can sing a whole movement. I believe it makes it a unique composer. "
In a way, Marcelo Camelo also feels like a unique composer. Not in the same sense of praise that it is attributed to Brahms, but rather in the only state where it's found to be associated with creating a symphony that has taken away from & Authoritative authoritative habits. So much, as a stranger and real feeling outside in the middle of classical music, "without any connection with a contemporary composer," skipped the same internet (where many of the answers discovered to those suspicions on along the way) were searching for "couples", people of their own age, who shared a similar outline for creating aesthetics that were redundant to be used and arranged on Music History shelves. "I have not found a lot," he said. "Actually, I did not find anyone," she's laughing.
Music Primitive is born of the huge space of freedom that Marcelo complains about not being compulsory to respect academic orders and a "commitment to innovation" which leads to the prevalence of new contemporary creatures. This is also because, by not putting his head in the books to comprehensively study the movements that happened in History of Music, Brazil was able to choose a point in the timeline that starts, for example, in Bach and Even, for example, Esa-Pekka Salonen, without having to think as a continuation of tradition. Instead, it could be said that Marcelo Camelo pointed his finger towards the nineteenth century and planted himself exciting in the romantic time, dividing Brahms, Tchaikovsky or Dvorak air. But not worthwhile, due to first notes Primitive can also send, effortlessly, to the symphonic music applied to the cinema by composers such as Nino Rota or Henry Mancini.
This pressures that languages in the past have on your music cause great concern to Marcelo Camelo. For the very repetitive idea that "the melodies have already closed because the notes are limited," the musician answers that he is the same as saying "ideas over because words are also limited". In addition, I believe, "the adjustment and arrangement of this information" is romantic according to the directions of our time. "One of our composers that we have as classics," he said, "did not listen to the Beatles, none of them saw movies." Even if it was not for this reason, Marcelo Camelo's symphonic music could not be just a reproduction of a pattern of another time.
End and start
He released that he did not have to write words to accompany the music and to be able to ban stage performances as an interpreter, Marcelo Camelo admits that the great challenge that he faces when moving from Pop music for written music had composed as a scholar the amount of ideas that the composition of the symphony had to collect. That is, when a song of two melodic ideas is enough to build a whole structure that lasts for three minutes, repeats verse and abstains as many times as necessary, when composing a score Primitive surprised when he "compressed many months of composite music, went to the score, started a music and discovered that he had had a minute and a half of music."
The records were piled up until they had organized around four movements organized by bicycle density. Not only because this is the understanding Marcelo Camelo makes of a symphony structure, but also because the last two years of his life has led him to deal with the birth of his daughter and losing his older brother. Primitive It begins, therefore, by the lack of death and makes its way to rediscovering the light in the last seconds.
It was all that Marcelo Camelo took with him to Prague, by renting for a day (the personal budget did not allow more flaws) to the City of Prague Philharmonic Orchestra and finally to see a song alive, which, for two years, was live only within your head. After some "fighting" the conductor and the music that made the connection to the orchestra, there is usually one initiative for the first time in this way, and made the necessary corrections, Primitive It sounded and it did not sound as the musician had imagined. But Marcelo's happiness was invaluable because he had done his work to the end and created a record that reminded that all of this had been completely and materialized in the whole learning process. However, if Rubber Soul is Rubber Soul, he says when comparing the weight of phonographic record in the pop and classical world, with orchestral pieces only happen that their full existence will always be a new version, after. directed by another leader, go through the hands of another orchestra.
Although it is not decided whether the next step in his career will be a new album of songs or a collection that is already under way, it is hoped that this is magical Primitive Find out the different lives of the one that now shares with the world. This is just a way for Marcelo Camelo to perform as a composer. Now it's up to the world to answer back.