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Diegesis Triptych > Piece II - Sursis {Otac​í​lio Melga​ç​o} [duration 30​:​00]

by Otacílio Melgaço

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D i e g e s i s T r i p t y c h
P i e c e - II - S u r s i s

O t a c í l i o M e l g a ç o

[duration 30:00] 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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"Ιθάκη

´Σα βγεις στον πηγαιμό για την Ιθάκη,
να εύχεσαι νάναι μακρύς ο δρόμος,
γεμάτος περιπέτειες, γεμάτος γνώσεις.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον θυμωμένο Ποσειδώνα μη φοβάσαι,
τέτοια στον δρόμο σου ποτέ σου δεν θα βρείς,
αν μέν' η σκέψις σου υψηλή, αν εκλεκτή
συγκίνησις το πνεύμα και το σώμα σου αγγίζει.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον άγριο Ποσειδώνα δεν θα συναντήσεις,
αν δεν τους κουβανείς μες στην ψυχή σου,
αν η ψυχή σου δεν τους στήνει εμπρός σου.

Να εύχεσαι νάναι μακρύς ο δρόμος.
Πολλά τα καλοκαιρινά πρωϊά να είναι
που με τι ευχαρίστησι, με τι χαρά
θα μπαίνεις σε λιμένας πρωτοειδωμένους·
να σταματήσεις σ' εμπορεία Φοινικικά,
και τες καλές πραγμάτειες ν' αποκτήσεις,
σεντέφια και κοράλλια, κεχριμπάρια κ' έβενους,
και ηδονικά μυρωδικά κάθε λογής,
όσο μπορείς πιο άφθονα ηδονικά μυρωδικά·
σε πόλεις Αιγυπτιακές πολλές να πας,
να μάθεις και να μάθεις απ' τους σπουδασμένους.

Πάντα στον νου σου νάχεις την Ιθάκη.
Το φθάσιμον εκεί είν' ο προορισμός σου.
Αλλά μη βιάζεις το ταξίδι διόλου.
Καλλίτερα χρόνια πολλά να διαρκέσει·
και γέρος πια ν' αράξεις στο νησί,
πλούσιος με όσα κέρδισες στον δρόμο,
μη προσδοκώντας πλούτη να σε δώσει η Ιθάκη.

Η Ιθάκη σ' έδωσε το ωραίο ταξίδι.
Χωρίς αυτήν δεν θάβγαινες στον δρόμο.
Αλλο δεν έχει να σε δώσει πια.

Κι αν πτωχική την βρεις, η Ιθάκη δεν σε γέλασε.
Ετσι σοφός που έγινες, με τόση πείρα,
ήδη θα το κατάλαβες η Ιθάκες τι σημαίνουν.´ (Καβάφης)

´When you set out on your journey to Ithaca,
pray that the road is long,
full of adventure, full of knowledge.
The Lestrygonians and the Cyclops,
the angry Poseidon -- do not fear them:
You will never find such as these on your path,
if your thoughts remain lofty, if a fine
emotion touches your spirit and your body.
The Lestrygonians and the Cyclops,
the fierce Poseidon you will never encounter,
if you do not carry them within your soul,
if your soul does not set them up before you.

Pray that the road is long.
That the summer mornings are many, when,
with such pleasure, with such joy
you will enter ports seen for the first time;
stop at Phoenician markets,
and purchase fine merchandise,
mother-of-pearl and coral, amber and ebony,
and sensual perfumes of all kinds,
as many sensual perfumes as you can;
visit many Egyptian cities,
to learn and learn from scholars.

Always keep Ithaca in your mind.
To arrive there is your ultimate goal.
But do not hurry the voyage at all.
It is better to let it last for many years;
and to anchor at the island when you are old,
rich with all you have gained on the way,
not expecting that Ithaca will offer you riches.

Ithaca has given you the beautiful voyage.
Without her you would have never set out on the road.
She has nothing more to give you.

And if you find her poor, Ithaca has not deceived you.
Wise as you have become, with so much experience,
you must already have understood what Ithacas mean.´ (Cavafy)

Mark McKenna, an associate professor at the University of Sydney, explains about a trip he made taking off from the US to the house of a certain Finnish composer:

>> ´Music is the least tangible of art forms, which is perhaps one reason why biographers strain to describe it, all too often retreating behind enigmatic descriptors like ‘mysterious’, ‘mystical’ or ‘transcendent’, and portraying the ‘master’ as God’s messenger. The truth is that no matter how graceful and poignant, descriptions of music will always pale in comparison to the experience of listening to it. After all, the point of music is not to be described but to be experienced. It is what music can do to us that contains the most exciting potential for analysis: music to steel the guts of soldiers before they go into battle, music for making love, (...) , music for giving birth and music for dying.

Few other twentieth-century composers have been the subjects of so much myth-making as Sibelius. Inextricably linked with the struggle for Finnish independence and the cultural nationalism that blossomed in the wake of the foundation of the Republic of Finland in 1917, his music is conventionally seen as the romantic-heroic representation of the Finnish landscape, an iron-forged homage both to nature and to nascent nation. Biographers describe his music as having ´an almost mystic sense of identification with nature´, or, even more fancifully, ´an elemental power that seems to have sprung fully grown from the glacial boulders, lakes and forests of the Finnish landscape´. Although Sibelius was an ardent supporter of Finnish independence (as the early symphonic poems Finlandia and Kullervo clearly indicate), he was more cosmopolitan than parochial, more the iconoclastic modernist than the late nineteenth–century bard of volk and nature. If anything, when trying to understand Sibelius’ music and his silence, nature tends to get in the way. Yet another veil is the manner in which his early biographers cultivated the aura that surrounds his name.

Almost 30,000 visitors each year make their way to Ainola, Sibelius’ former home at Järvenpää, named for his wife, Aino. Sibelius remarked that ´in Ainola the silence speaks´.

Finland’s ‘national composer’ lived from 1865 to 1957 and was, alongside Gustav Mahler, one of the 20th century’s greatest symphonists. While Mahler’s symphonies digressed and expanded in an effort to encompass the whole world, Sibelius’ symphonies, which he described as ´confessions of faith´, were compressed to the point of ultimate silence. ´Never write an unnecessary note,´ he proclaimed. ´Every note must live.´ <<

Oftentimes I think there´s much in common between some Melgaço compositions and important part of Sibelius stylistic. I do not mean panoramas, but niches. ´Diegesis Triptych´ is an example. If the Finn was brilliant to sonically weave musical landscapes, we can say the same about the Brazilian.

About Otacílio Melgaço, paraphrasing the words of Mr. McKenna, biographers will describe his music as having an almost mystical sense of identification with his human nature and supernature, or, even more fanciful, an elemental power that seems to have sprung fully grown from the hinterland stones/touchstones (moonstones?), post-narcissistic lakes and dark forests of his inner landscapes - not too much belonging to the material world ´of mortals´. He´s cosmopolitan, iconoclastic simultaneously an intemporal bard. O.M.: audible silence and reverberating aura. In his compositions, clearly the silence speaks. The aura translates. At the same time, creations digressed/expanded in an effort to encompass the whole world and confessions of (classic) faith - compressed to the point of highest ´sonic poetry´. Hear the echo: Never write an unnecessary note, every necessary note must live.

´Music is, for me, like a beautiful mosaic which God has put together. He takes all the pieces in his hand, throws them into the world, and we have to recreate the picture from the pieces.´ Decoding all figurative extent of such Sibelius quote, the Melgacian Triptych is the proof more expansive and beautiful that." (Pablo S. Paz; Argentinean musicologist)

"A Triptych - from the Greek adjective τρίπτυχον (´three-fold´), from tri, i.e., ´three´ and ptysso, i.e., ´to fold´ or ptyx, i.e., ´fold´) - is a work of art (usually a panel painting) that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open.

The Triptych form arises from early Christian art, and was a popular standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west. Renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Sculptors also used it. Triptych forms also allow ease of transport.

From the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral. The Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many ecclesiastical stained glass windows. Although strongly identified as an altarpiece form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann, and Francis Bacon.

One of Melgacian innovations is to bring to the musical universe the proposal of a Triptych. Being a more common expression to the visual arts, implement it sonically deserves our attention and admiration.
I suggest you all a thorough reading of the meanings of each title adopted by the composer. Diegesis = Nêmesis (Nemesis) + Sursis + Catársis (Catharsis). Are all attached to three respective reviews (below). I wish that each of the listeners must find the own interpretation to the names elected by Melgaço in its magmatic and also metaphorical senses. So when we absorb a work of art of great stature, each of us will really find, certainly under a non-transferable and intimate condition, a rhizome tacking connotations that will be relevant, appropriate and revealing. At least, there are two aspects that I would notedly highlight: the philosophical and mystical.

We´re facing one hour and thirty minutes - three Pieces lasting half an hour (unlike the tradition that the middle panel - here, a composition - is typically the largest and is flanked by two small works related) - which serves as the uterus to an unique contemporary artistic experience.
´Art is not what you see, but what you make others see.´ (Degas)
Otacílio Melgaço is always reteaching us to hear as if for the first time and especially to listen more and better." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - A suspended sentence (Sursis) is a legal term for a judge's delaying of a defendant's serving of a sentence after they have been found guilty, in order to allow the defendant to perform a period of probation. If the defendant does not break the law during that period, and fulfills the particular conditions of the probation, the judge usually dismisses the sentence;

II - Diegesis is a style of fiction storytelling that presents an interior view of a world in which:
1.details about the world itself and the experiences of its characters are revealed explicitly through narrative
2.the story is told or recounted, as opposed to shown or enacted.

In diegesis the narrator tells the story. The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience;

III - Diegesis (Greek διήγησις "narration") and mimesis (Greek μίμησις "imitation") have been contrasted since Plato's and Aristotle's times. Mimesis shows rather than tells, by means of action that is enacted. Diegesis is the telling of the story by a narrator. The narrator may speak as a particular character or may be the invisible narrator or even the all-knowing narrator who speaks from "outside" in the form of commenting on the action or the characters.

In Book III of his Republic (c. 373 BC), Plato examines the "style" of "poetry" (the term includes comedy, tragedy, epic and lyric poetry): All types narrate events, he argues, but by differing means. He distinguishes between narration or report (diegesis) and imitation or representation (mimesis). Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is any one else"; when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture". In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as him or herself.

In his Poetics, the ancient Greek philosopher Aristotle argues that kinds of "poetry" (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or "manner" (section I); "For the medium being the same, and the objects the same, the poet may imitate by narration — in which case he can either take another personality as Homer does, or speak in his own person, unchanged — or he may present all his characters as living and moving before us" (section III).

...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a 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.

credits

released March 3, 2015

Hear more here:
soundcloud.com/otaciliomelgaco

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O t a c í l i o
M e l g a ç o {conception | composition | arrangement | synopsis | instrumentation | orchestration | engineering & sound design | art design [O.M., after Weisberger] | production | direction}

Special Guests: Zycluz Quartett

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
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Minas Gerais,
Brazil.
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"Music is like a bewitched Mistress." (Paul Klee)
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