P r a w i e Z e r o w y

- N o c t u r n u s

G u i d e d B y V o i c e s & D a e d a l i a n T u b a -

O t a c í l i o M e l g a ç o

[duration 39:38] 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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"A Nocturne (from the French which meant Nocturnal, from Latin Nocturnus) is usually a musical composition that is inspired by, or evocative of, the Night.

Historically, Nocturne is a very old term applied to night Offices and, since the Middle Ages, to divisions in the canonical hour of Matins. Of course, this did not go unnoticed to Mr. Melgaço.

Antoine de Saint-Exupery wrote 'Night, the beloved. Night, when words fade and things come alive. When the destructive analysis of day is done, and all that is truly important becomes whole and sound again. When man reassembles his fragmentary self and grows with the calm of a tree.'

In the night all that is truly important becomes whole and sound again. The Melgacian 'Nocturnus' is the ultimate proof of this. Again and again and again. Calm, alive, beloved." (Pablo S. Paz; Argentinean musicologist)

"'Prawie Zerowy' means 'Almost Zero' in Polish.

Records show that (not the Poles but) the ancient Greeks seemed unsure about the status of zero as a number. They asked themselves, 'How can nothing be something?', leading to philosophical and, by the Medieval period, religious arguments about the nature and existence of zero and the vacuum. The paradoxes of Zeno of Elea depend in large part on the uncertain interpretation of zero.

Now I am asking (guided by Voices and Daedalian Tuba), 'How something can be almost nothing?' Wherein
'Something' = a sound Piece indescribably/liturgically captivating;
'Almost Nothing' = narrowly zero - nearly zefiro - near zephyrus ('west wind' from Latin and Greek).
Quasi western, so equally quasi oriental? Wind.
'Wind' = ventus, spiritus, eurus, aura, anima, zephyrus.
Then I remember a little epiphany of the Brazilian writer João Guimarães Rosa: 'Deus é aragem' / 'God is light air'. In other words, breeze - waft - gad-fly - ... - between this and that: wind - zephyr - zero. Or almost." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - The name Nocturne was first applied to pieces in the 18th century, when it indicated an ensemble piece in several movements, normally played for an evening party and then laid aside. Sometimes it carried the Italian equivalent, notturno, such as Wolfgang Amadeus Mozart's quadraphonic Notturno in D, K.286, written for four lightly echoing separated ensembles of paired horns with strings, and his Serenata Notturna, K. 239. At this time, the piece was not necessarily evocative of the night, but might merely be intended for performance at night, much like a serenade. The chief difference between the serenade and the notturno was the time of the evening at which they would typically be performed: the former around 9:00pm, the latter closer to 11:00 pm.

In its more familiar form as a single-movement character piece usually written for solo piano, the nocturne was cultivated primarily in the 19th century. The first nocturnes to be written under the specific title were by the Irish composer John Field, generally viewed as the father of the Romantic nocturne that characteristically features a cantabile melody over an arpeggiated, even guitar-like accompaniment. However, the most famous exponent of the form was Frédéric Chopin, who wrote 21 of them. One of the most famous pieces of 19th-century salon music was the "Fifth Nocturne" of Ignace Leybach, who is now otherwise mostly forgotten. Later composers to write nocturnes for the piano include Gabriel Fauré, Alexander Scriabin, Erik Satie (1919), Francis Poulenc (1929), as well as Peter Sculthorpe. In the movement entitled 'The Night's Music' ('Musiques nocturnes' in French) of Out of Doors for solo piano (1926), Béla Bartók imitated the sounds of nature. It contains quiet, eerie, blurred cluster-chords and imitations of the twittering of birds and croaking of nocturnal creatures, with lonely melodies in contrasting sections. American composer Lowell Liebermann has written eleven Nocturnes for piano. Other notable nocturnes from the 20th century include those from Michael Glenn Williams, Samuel Barber and Robert Helps.

Other examples of nocturnes include the one for orchestra from Felix Mendelssohn's incidental music for A Midsummer Night's Dream (1848), the set of three for orchestra and female choir by Claude Debussy (who also wrote one for solo piano) and the first movement of the Violin Concerto No. 1 (1948) by Dmitri Shostakovich. French composer Erik Satie composed a series of five small nocturnes. These were, however, far different from those of Field and Chopin. In 1958, Benjamin Britten wrote a Nocturne for tenor, seven obbligato instruments and strings.

Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces with the name nocturne have conveyed a variety of moods: the second of Debussy's orchestral Nocturnes, "Fêtes", for example, is very lively, as are parts of Karol Szymanowski's Nocturne and Tarantella (1915) and Kaikhosru Shapurji Sorabji's Symphonic Nocturne for Piano Alone (1977–78);

II - The word Zero came into the English language via French zéro from Italian zero, Italian contraction of Venetian zevero form of 'Italian zefiro via ṣafira or ṣifr. In pre-Islamic time the word ṣifr (Arabic صفر) had the meaning 'empty'. Sifr evolved to mean zero when it was used to translate śūnya (Sanskrit: शून्य) from India. The first known English use of zero was in 1598.

The Italian mathematician Fibonacci (c.1170–1250), who grew up in North Africa and is credited with introducing the decimal system to Europe, used the term zephyrum. This became zefiro in Italian, and was then contracted to zero in Venetian. The Italian word zefiro was already in existence (meaning "west wind" from Latin and Greek zephyrus) and may have influenced the spelling when transcribing Arabic ṣifr.

...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.