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P o m p e i i (Solo Cellos Piece) {Otac​í​lio Melga​ç​o} [duration 52​:​25]

by Otacílio Melgaço

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about

P o m p e i i
- S o l o C e l l o s P i e c e -

O t a c í l i o M e l g a ç o

[duration 52:25] 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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"Can we consider already quite extensive the adventure of Humanity, if decide to measure the duration of a lifetime, a generation. Many Melgacian sound Pieces arise from silence and then are invaginated by silence. By the way, after listening to his aesthetic offspring, even silence sounds different. Many Melgacian audible Pieces have considerable continuity too. They pierce the belly of Cronos.
When I perform a reflection about what I ponder above, I conclude that Otacílio creates for all Humanity - both in temporal and spatial extent. And beyond. In an era in which everything tends to be ephemeral, disposable, hasty; the desperately touching ´Pompeii´ - in its Bachian aura and Oriental echoes - flags a proposal that takes an opposite direction.

At a specific occasion, the Brazilian writer João Guimarães Rosa (who was also a diplomat) said: ´The politician thinks only in terms of minutes. I think of the resurrection of Man.´ Carrying the metaphor for the artistical universe, O.M. unconditionally thinks of the resurrection of Man, of Humanism, of Humanity." (Caio Campbell; Anglo-Brazilian semiologist and musician)

"From now on, I will put in writing and spell the city's name in this way:
p O.M. peii!

In his magmatic Solo Cellos Piece, Otacílio Melgaço explores acousticities, harmonics, vibrational expansions etc. Not always the liturgically mythological notes become discernible as the lava of Vesuvius and the skin of their immortalized victims.

The exigent Work becomes a kind of epic, divided into three movements, and, if I understand well, narrating the previous, the tragedy happening and immediate subsequent period to the imposing volcano and its ejaculatory eruption varnishing, scorching, all Colonia Cornelia Veneria Pompeianorum.

It is certainly not a composition that offers facilities. It´s a Sphinx. Each will have its destination before the mythical creature. At least I can announce that all who have gone forward, they are awarded with a more promising future that those devoured by the entity with body of a lion and a human head or, sure, the Pompeian citizens. But probably (also) still be in front of a visceral and metaphysical (sonic) sense of ... - how should I denominate? Yes, there´s an appropriate lexicon: - ... Immortality." (Pablo S. Paz; Argentinean musicologist)

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I - The city of Pompeii was an ancient Roman town-city near modern Naples in the Italian region of Campania, in the territory of the comune of Pompei. Pompeii, along with Herculaneum and many villas in the surrounding area, was mostly destroyed and buried under 4 to 6 m (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD.

Researchers believe that the town was founded in the seventh or sixth century BC by the Osci or Oscans. It came under the domination of Rome in the 4th century BC, and was conquered and became a Roman colony in 80 BC after it joined an unsuccessful rebellion against the Roman Republic. By the time of its destruction, 160 years later, its population was approximately 11,000 people, and the city had a complex water system, an amphitheatre, gymnasium and a port.

The eruption destroyed the city, killing its inhabitants and burying it under tons of ash. Evidence for the destruction originally came from a surviving letter by Pliny the Younger, who saw the eruption from a distance and described the death of his uncle Pliny the Elder, an admiral of the Roman fleet, who tried to rescue citizens. The site was lost for about 1,500 years until its initial rediscovery in 1599 and broader rediscovery almost 150 years later by Spanish engineer Rocque Joaquin de Alcubierre in 1748. The objects that lay beneath the city have been well-preserved for centuries because of the lack of air and moisture. These artifacts provide an extraordinarily detailed insight into the life of a city during the Pax Romana. During the excavation, plaster was used to fill in the voids in the ash layers that once held human bodies. This allowed one to see the exact position the person was in when he or she died.

Pompeii has been a tourist destination for over 250 years. Today it has UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors every year;

II - In 1971, the rock band Pink Floyd recorded the live concert film Pink Floyd: Live at Pompeii, performing six songs in the ancient Roman amphitheatre in the city. The audience consisted only of the film's production crew and some local children.

...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 April 4, 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 | production | direction}

Special Guests: Nausícaaa Ensemble

Estúdio Yoknapotawpha/BR + Unidade Euromobile

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
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Official (English) Site
otaciliomelgaco.wixsite.com/omenglish
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PORTAL O|M
(Portuguese)
otaciliomelgaco.wixsite.com/otaciliomelgaco
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Site to be viewed exclusively on Mobile Devices (smartphones, etc.)
otaciliomelgaco.wixsite.com/mobileom
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"Music is like a bewitched Mistress." (Paul Klee)
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