D o m u s A u r e a

O t a c í l i o M e l g a ç o

[duration 03:09:51] all rights reserved

dedicated to Ronei Lombardi Filgueiras

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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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"´Gold has an almost atavistic lure. People feel it has a panacea effect.´ (Howard Blum)

´Tragedy is like strong acid - it dissolves away all but the very gold of truth.´ (D. H. Lawrence)

Domus Aurea or Golden House. Metaphorically, I could talk about the creation act of Otacílio Melgaço as an alchemical process. I could draw the attention of the Ladies and Gentlemen to his capacity to bring forth, from a little choir and through its mixes and post-recording effects, a sonic stream with an unbelievable density, a fascinating harmonization plus a corporeity, an embodiment of voices almost supernatural. [I must confess that the adverb 'almost' is merely figurative.] It seems to me quite pertinent to say that this music is full of transparencies, watercolors, stained glass windows, mosaics, hyperbolic membranes and outre domes ...; in brief,
a Sky-Ey Geometry.

G e n e s i s

It would be providential we have as starting point four closely connected entries:

Religious music (also sacred music) is music performed or composed for religious use or through such influence.

Melgacian ´Domus Aurea´ is a sacred, religious sound Piece if we take into account that religion is derived from the Latin religiō, the ultimate origins of which are obscure. One possible interpretation traced to Cicero, connects lego ´read´, i.e. re (again) with lego in the sense of ´choose´, ´go over again´ or ´consider carefully´. Modern scholars such as Tom Harpur and Joseph Campbell favor the derivation from ligare ´bind, connect´, probably from a prefixed re-ligare, i.e. re (again) + ligare or ´to reconnect´, which was made prominent by St. Augustine, following the interpretation of Lactantius;

Ritual music is music, sacred or not, performed or composed for or as ritual.

Melgacian ´Domus Aurea´ is profoundly ritualistic since its absorption is linked to sacral symbolism. Rituals are a feature of all known human societies. They include not only the rites and sacraments of organized religions and cults, but also rites of passage, atonement and purification rites, oaths of allegiance, dedication ceremonies, and more. The field of ritual studies has seen a number of conflicting definitions of the term. One given by Kyriakidis is that the ritual is an outsider's or 'etic ' category for a set of activities that, to the outsider, seems irrational, noncontiguous, or illogical. The term can be used also by the insider or 'emic ' performer as an acknowledgment that this activity can be seen to be uninitiated onlooker. The English word ´ritual´ derives from the Latin ritualis, ´that which pertains to rite (ritus)´. In Roman juridical and religious usage, ritus was the proven way (mos) of doing something, or ´correct performance, custom´. The original concept of ritus may be related to the Sanskrit ṛtá (´visible order´) in Vedic religion, ´the lawful and regular order of the normal, and therefore proper, natural and true structure of cosmic, worldly, human and ritual events´;

Church music is music written for performance in church, or any musical setting of ecclesiastical liturgy, or music set to words expressing propositions of a sacred nature, such as a hymn.

Melgacian ´Domus Aurea´ could also fit into this category because its theme is (not solely but) a theater (which has the aura and architectonics of a temple) whose name gives it baptism; certainly a ceremonial place, preponderantly hosting musical performances; widely deserving of being a uterus to hymnals (as a figure of speech) that praise great Art and Humanity itself. It´s not by chance that the work is dedicated to the one that conceived and built such Domus Aurea (Golden House), as well as Otacílio, his countryman, also from Minas Gerais state, Mr. Lombardi Filgueiras. In fact, (I must repeat provided that an entire polyphonic tectonic horizon is addressed here) the album is not only focused on this construction but on all farraginous geneses and consecrated legacy of the same idealizer;

Liturgical music originated as a part of religious ceremony, and includes a number of traditions, both ancient and modern. Liturgical music is well known as a part of Catholic Mass, the Anglican Holy Communion service (or Eucharist), the Lutheran Divine Service, the Orthodox liturgy and other Christian services including the Divine Office. Such ceremonial music in the Judeo-Christian tradition can be traced back to both the Temple in Jerusalem and synagogue worship of the Hebrews. The qualities that create the distinctive character of liturgical music are based on the notion that liturgical music is conceived and composed according to the norms and needs of the various historic liturgies of particular denominations.

This ´Domus Aurea´ must be understood as Liturgical music but in a heterodox way. In exegesis, two topics I emphasize: 1 - The timelessness of the Piece, therefore, its detachment from historical periods and thus a stylistic molding - musically speaking; 2 - The independence of either religious creed too. There´s no compositional cadre that´s obedient to one or another format conventionally attached to any church or canonical skeleton. In short, we as listeners can perceive and feel ´bodily and intellectually and (to those who believe in this dimension) spiritually´ that we´re witnessing, participating in a Liturgy (not Hebrew or Christian or ... but) preponderantly Melgacian.

H e r m e n e u t i c s

{If you will allow me, a prelusive conjunctural remark. An observation that seems quite pertinent to the present and that´s present, direct or indirectly, in all the current artistic spectra. So it´s appurtenant to my explanation since it indicates niches where Otacílio Melgaço makes trajectories, and others where he prefers not.

´All theory, dear friend, is gray, but the golden tree of life springs ever green.´ (Johann Wolfgang von Goethe)

As is well known, we do not propose to do a reading that tries to decipher the creations of O.M. since the musical jargon. Nor are we captives of conceptualism. Conceptualism is the art in which the concept(s) or idea(s) involved take precedence over traditional aesthetic and material concerns. In conceptual art the idea or concept is the most important aspect of the whole process. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. Unmachined, we cast our lenses not barely towards the artist who in contemporaneity constantly hides behind a misrepresented variant of it, but also in how, for his general, there´s a collapse of the relationship with the progeny because of verbosities and preliminary illusionistic decoys.

Including a serious perspective of the axis ´work/audience´ (nowadays ordinarily forgotten or underestimated in view of the fact that hostage of sustenance and prestige for the artist and this, lately, seems enough to him), we prefer to move away from such ´trap´ whereas we do not believe in the notion that, in terms of our musical niche, for future listeners: the concept (or its dictatorial distortion) should anticipate the experience of absorption. Much less do we think that any attempt to describe what will be heard is of effective validity inasmuch as we are not sure that vocables should replace the very sounds emanating from the work itself (ars regia). Sounds, words ...: they are different languages, different decodings. As already said by Thelonius Monk or Frank Zappa or Laurie Anderson or Elvis Costello or ... (there are controversies as to the author of the phrase):

´Writing About Music is Like Dancing About Architecture´.

(Between two parentheses distant from the semiological mazes; a human, all too superhuman addendum: perhaps here it would be better to kneel before the architecture and pray. But as Nietzsche/Zarathustra cried, ´I would only believe in God who could dance´. Soon, kneeling or dancing, static or moving, is the Melgacian music transubstantiating us.)

Now, re-interlacing the threads of the skein, what I´ll argue is something that belongs to each one's free will. We have nothing against concepts, but against (my apologies for the paronomasia) preconcept(ion)s. We expressly are not abducted by previous concepts (pre-fabricating, pre-formatting and thus prenunciating unilaterally the ´real thing´; with the tendency to train, to gait the audience) when - and only when -, therefore, they exist to disguise a despicable breeding; to persuade by means rationalist - or, on the contrary, imaginatively nonsensed - (but only by them) the public of something that does not support itself in the (sterile) spawn; to replace by ´well-articulated´ (usually not so much; generally unconvincing) theorizations or (I could denominate) ´drug leaflets´ ... what is insignificant in the shape of music and any other creative expression. Literally: in other words, we do not agree with mediocre artists disguised as flock of conceptualizers. No doubt there are exceptions but they confirm such a lamentable postmodern ´rule´.

However, what remains for us to communicate? For those who will relish, even possess (and be possessed by) a work of art, or for those who have already done so. What concerns us are referrals that can nourish more those who will appreciate (or who have already enjoyed) each offspring of the Brazilian composer and multi-instrumentalist, so that their means of apprehension are enriched (in multifaceted autonomous kinetic directions), not tutored or catechized or transformed into a mere simulacrum of ´preliminary official versions´ (than this or that work of art should be) determined or imposed by cultural producers (in their conveniences), public relations/communications advisory (and its partial transferals) or ´specialized´ critics (in these times: with a lot of information and rare formation, not always trustworthy).

Respecting others but reinforcing our position on this, let us continue.}

Two visceral aspects of ´Domus Aurea´, among several, should be highlighted: one is metaphysical, the other structural.

The first is the realization that, alongside a few contemporary breeders, Mr. Melgaço, when is as well engaged in transcendental perspectives, continues to raise the music to unimaginable levels. The ascensional vastness and the (trans) ontological depth translated into sounds are awe-inspiring, magnificent as infrequent compositions throughout history have been able to be.

The second is the acumen of interacting with his instigating motifs and objects of proposition. If we observe the architectural signature of his honoree, we´ll find a series of intersections evoked by O.M., i.e. brilliant characteristics, in this case, from a (monumental) plastic art ... properly transported, as bright as, to the sonic universe. Notice, for example, how the whole Piece suggests us undulations, valleys and ridges, sequences with volumetric crescendo and diminuendo; (being less colloquial) a symmetrical open curves ... constant formal constituent elements of the concrete epiphanies erected by Ronei Lombardi Filgueiras. Smooth curves lying in a plane, defined by its geometric properties (or by equations for which it´s the solution set). Connected components or branches, mirror images of each other like two infinite bows. If we reflect on the very conception: departing from a seminal microscopy, Otacílio Melgaço accurately and masterfully makes use of mathematical meanders (encompassing questions of shape, size, relative position of figures, the properties of space; lengths, areas, and volumes) to corroborate his tribute, penetrating with intrepidity the territoriality that was always root for Ronei's craft; taking this parallel to the pinnacles, to culminate his obeisance with golden key. From microcosm to macro. After all, the studies of topics such as numbers, frame, change are also bricks that constitute the process along with the product of planning, designing, constructing buildings (plus other physical structures) and the art form/cultural activity whose medium is sound organized in time. Quod est inferius est sicut quod est superius, et quod est superius est sicut quod est inferius, ad perpetranda miracula rei unius.

´Your sacred space´, once said Joseph Campbell, ´is where you can find yourself again and again.´ This locus, here and now, is covered with gold. And every time you come back there, and there listen to yourself, will be the same and at the same time a new one.
Tactilely ...

´Silently, God opens his golden eyes over the place of
skulls.´ (Georg Trakl)

´It is tact that is golden, not silence.´ (Samuel Butler)

This is it.

Solve et Coagula." (Pablo S. Paz; Argentinean musicologist)

"Due to the magnitude of the present Melgacian work, it seems inevitable a historical reference of greater breath.

>> The Domus Aurea (Latin, ´Golden House´) was a vast landscaped palace built by the Emperor Nero in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city and the aristocratic villas on the Palatine Hill.

Suetonius claims this of Nero and the Domus Aurea:

´When the edifice was finished in this style and he dedicated it, he deigned to say nothing more in the way of approval than that he was at last beginning to be housed like a human being.´

Statue of a muse in the newly reopened Domus Aurea
Though the Domus Aurea complex covered parts of the slopes of the Palatine, Esquiline, Oppian and Caelian hills, with a man-made lake in the marshy valley, the estimated size of the Domus Aurea is an approximation, as much of it has not been excavated. Some scholars place it at over 300 acres (1.2 km2), while others estimate its size to have been under 100 acres (0.40 km2). Suetonius describes the complex as ´ruinously prodigal´ as it included groves of trees, pastures with flocks, vineyards and an artificial lake—rus in urbe, ´countryside in the city´.

Nero also commissioned from the Greek Zenodorus a colossal 35.5 m (120 RF) high bronze statue of himself, the Colossus Neronis. Pliny the Elder, however, puts its height at only 30.3 m (106.5 RF). The statue was placed just outside the main palace entrance at the terminus of the Via Appia in a large atrium of porticoes that divided the city from the private villa. This statue may have represented Nero as the sun god Sol, as Pliny saw some resemblance. This idea is widely accepted among scholars but some are convinced that Nero was not identified with Sol while he was alive. The face of the statue was modified shortly after Nero’s death during Vespasian’s reign to make it truly a statue of Sol. Hadrian moved it, with the help of the architect Decrianus and 24 elephants, to a position next to the Flavian Amphitheater. This building took the name ´Colosseum´ in the Middle Ages, after the statue nearby, or, as some historians believe, because of the sheer size of the building.

The Golden House was designed as a place of entertainment, as shown by the presence of 300 rooms without any sleeping quarter. Nero's own palace remained on the Quirinal Hill. No kitchens or latrines have been discovered.

Rooms sheathed in dazzling polished white marble were given richly varied floor plans, shaped with niches and exedras that concentrated or dispersed the daylight. There were pools in the floors and fountains splashing in the corridors. Nero took great interest in every detail of the project, according to Tacitus' Annals, and oversaw the engineer-architects, Celer and Severus, who were also responsible for the attempted navigable canal with which Nero hoped to link Misenum with Lake Avernus.

Some of the extravagances of the Domus Aurea had repercussions for the future. The architects designed two of the principal dining rooms to flank an octagonal court, surmounted by a dome with a giant central oculus to let in light. It was an early use of Roman concrete construction. One innovation was destined to have an enormous influence on the art of the future: Nero placed mosaics, previously restricted to floors, in the vaulted ceilings. Only fragments have survived, but that technique was to be copied extensively, eventually ending up as a fundamental feature of Christian art: the apse mosaics that decorate so many churches in Rome, Ravenna, Sicily and Constantinople.

Celer and Severus also created an ingenious mechanism, cranked by slaves, that made the ceiling underneath the dome revolve like the heavens, while perfume was sprayed and rose petals were dropped on the assembled diners. According to some accounts, perhaps embellished by Nero's political enemies, on one occasion such quantities of rose petals were dropped that one unlucky guest was asphyxiated (a similar story is told of the emperor Elagabalus).

The extensive gold leaf that gave the villa its name was not the only extravagant element of its decor: stuccoed ceilings were faced with semi-precious stones and ivory veneers, while the walls were frescoed, coordinating the decoration into different themes in each major group of rooms. Pliny the Elder watched it being built and mentions it in his Naturalis Historia.

Frescoes covered every surface that was not more richly finished. The main artist was one Famulus (or Fabulus according to some sources). Fresco technique, working on damp plaster, demands a speedy and sure touch: Famulus and assistants from his studio covered a spectacular amount of wall area with frescoes. Pliny, in his Natural History, recounts how Famulus went for only a few hours each day to the Golden House, to work while the light was right. The swiftness of Famulus's execution gives a wonderful unity and astonishing delicacy to his compositions.

Pliny the Elder presents Amulius as one of the principal painters of the domus aurea: ´More recently, lived Amulius, a grave and serious personage, but a painter in the florid style. By this artist there was a Minerva, which had the appearance of always looking at the spectators, from whatever point it was viewed. He only painted a few hours each day, and then with the greatest gravity, for he always kept the toga on, even when in the midst of his implements. The Golden Palace of Nero was the prison-house of this artist's productions, and hence it is that there are so few of them to be seen elsewhere.´ <<

Taking a leap of time, let's start over with a few words from the Portuguese poetess and playwright Maria Estela Guedes about a certain intimate aureate Theater.

>> ´On the outskirts of Belo Horizonte (Minas Gerais/Brazil), more concretely in the condominium Retiro das Pedras, in Brumadinho, I had the opportunity to visit a sui generis theater, both for the place where it was built and for the architectural risk. It is a circular theater, whose dome, of adobes, seems to hover on the stage, with nothing that apparently holds the bricks to each other so as not to collapse. Outwardly, the building is barely conspicuous, for two reasons: this theater was built indoors, and the dome is landscaped.

Necessarily, we are faced with a work of art, composite, since there is still to consider ornamental elements such as stained glass, painting, drawing of the floor mosaics, and others for which the author had to have drawn attention. At the same time, it was a question of transferring to the hard materials mathematical devices, something like poetry of numbers. It is the mathematics that holds the adobes of the dome, whose visual differs consonant is seen at night or day. At night, because of the illumination in the glass design, we have the illusion of a celestial vault covered by the constellations.

Owned by Ronei Lombardi Filgueiras, it was inaugurated in 1981 with a piano recital by Nelson Freire.

The 80-seat theater is named Domus aurea, as the extravagant palace that Nero had built after the burning of Rome. The basic materials in the Roman palace were brick and mortar, but then he carried gold leaf and even precious stones were embedded in it. The Domus Aurea, or Golden House, in the Retiro das Pedras, in Minas Gerais, is also a work of extravagant architecture; although one of its basic materials is also brick, wealth already comes from the imagination of the architect, who replaced stones with glazes and gold for the warm tone of the room, borrowed mainly by the mosaic circle on the floor under the vault.´ <<

Ronei Lombardi Filgueiras.

He was born in the year 1935. In Guarani, Minas Gerais, Brazil. Painter, stained glass, engineer, architect and decorator. From the beginning of his career he seeks to work on transparency in watercolor and stained glass. In 1977, he began his research as a stained glassmaker in Retiro das Pedras, MG, and from 1988 began to guide a small group of workers, bricklayers, locksmiths and glass cutters in the production of stained glass. Since 1972, he has designed and executed several churches in Belo Horizonte, including: Church of Santa Margarida Maria (1973-74), Holy Trinity (1976), Church of São Francisco (1987-88), Church of Bom Despacho (1986) ), Santa Maria Estrela da Manhã Church (1988), Coronel Fabriciano Cathedral (1989-90), Church of São Dimas (1991), Church of Nossa Senhora de Fátima (1991-92) and Church of Paraopeba (1999). As an engineer and builder, he performs in his work a synthesis of the arts, creating an environment conducive to music and other artistic presentations. For this he created a theater in the terrain of his house in Retiro das Pedras, having as cover a large hyperbolic dome, crowned by a geometric stained glass. As a painter, he was awarded a prize at the XIV Municipal Hall of Fine Arts, BH, 1959. In 1997, he participated with an individual room in a collective at the Convento de São José in Lagoa, Algrave, Portugal. In 1999, he was invited to join a group of two American artists at the Artful Living event at the Addison Holmes Fine Art Gallery, Orleans, Massachusetts, USA.

(...)

We are all invited to enter such Golden House.

Belonging to Nero Claudius Cæsar Augustus Germanicus;

to Ronei Lombardi Filgueiras;

to Otacílio Melgaço;

and within this contemporary sound abode, I assure you all,

O.M. makes us Kings.

To be more exact, a King in particular:

M i d a s!" (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - After Nero's death, the Golden House was a severe embarrassment to his successors. It was stripped of its marble, its jewels and its ivory within a decade. Soon after Nero’s death, the palace and grounds, encompassing 2.6 km² (c. 1 mi²), were filled with earth and built over: the Baths of Titus were already being built on part of the site in 79 AD. On the site of the lake, in the middle of the palace grounds, Vespasian built the Flavian Amphitheatre, which could be reflooded at will, with the Colossus Neronis beside it. The Baths of Trajan, and the Temple of Venus and Rome were also built on the site. Within 40 years, the Golden House was completely obliterated, buried beneath the new constructions, but paradoxically this ensured the wallpaintings' survival by protecting them from dampness.

When a young Roman inadvertently fell through a cleft in the Esquiline hillside at the end of the 15th century, he found himself in a strange cave or grotta filled with painted figures. Soon the young artists of Rome were having themselves let down on boards knotted to ropes to see for themselves. The fourth style frescoes that were uncovered then have faded to pale gray stains on the plaster now, but the effect of these freshly rediscovered grottesche decorations was electrifying in the early Renaissance, which was just arriving in Rome. When Pinturicchio, Raphael and Michelangelo crawled underground and were let down shafts to study them, carving their names on the walls to let the world know they had been there, the paintings were a revelation of the true world of antiquity. Beside the graffiti signatures of later tourists, like Casanova and the Marquis de Sade scratched into a fresco inches apart (British Archaeology June 1999), are the autographs of Domenico Ghirlandaio, Martin van Heemskerck, and Filippino Lippi.

It was even claimed that various classical artworks found at this time—such as the Laocoön and his Sons and Venus Kallipygos—were found within or near the Domus's remains, though this is now accepted as unlikely (high quality artworks would have been removed—to the Temple of Peace, for example—before the Domus was covered over with earth).

The frescoes' effect on Renaissance artists was instant and profound (it can be seen most obviously in Raphael's decoration for the loggias in the Vatican), and the white walls, delicate swags, and bands of frieze—framed reserves containing figures or landscapes—have returned at intervals ever since, notably in late 18th century Neoclassicism, making Famulus one of the most influential painters in the history of art;

II - Discovery led to the arrival of moisture starting the slow, inevitable process of decay. Heavy rain was blamed in the collapse of a chunk of ceiling.

Increasing concerns about the condition of the building and the safety of visitors resulted in its closing at the end of 2005 for further restoration work. The complex was partially reopened on February 6, 2007, but closed on March 25, 2008 because of safety concerns.

The likely remains of Nero's rotating banquet hall and its underlying mechanism were unveiled by archeologists on September 29, 2009.

The current administrative division of central Rome places it in rione Monti.

Sixty square meters (645 square feet) of the vault of a gallery collapsed on March 30, 2010;

III - The great hyperbolic dome of the Domus Aurea Theater
by Dr. Ronei Lombardi Filgueiras:
www.uai.com.br/app/noticia/e-mais/2012/04/02/noticia-e-mais,100090/teatro-domus-aurea-retoma-sua-programacao-de-musica-erudita.shtml

IV - Caio Campbell´s Note:

“´Without seeking to comprehend the incomprehensible, he gazed upon it. He did not study God; he was dazzled by Him.´ (Victor Hugo, Les Misérables)

Last but not least, I could never fail to mention the imagetic representation made by O.M. through the album cover; an after-light that leaves us really gazed. It´s, in my opinion, one of the most beautiful, stunning, enchanting and dazzling I have ever seen in my entire life. If I could give you some advice, if I may, I would clamor the following: seek it, by favor, from a high-quality/good-definition display, and preferably larger in size than, for example, a smartphone - such as a LED computer monitor.

´A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkened ways:
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits.´ (John Keats, Endymion - excerpt -)

´Domus Aurea´; gold audible poured unto us
from the heaven's brink."

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It is worth mentioning that Otacílio Melgaço once lived in an edifice designed and built by Ronei Lombardi Filgueiras.

...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.