Latvian Composer Gerogs Pelecis
Georgs Pelecis - Latvian composer and musicologist

WORKS
LIST OF MUSICOLOGICAL ARTICLES
RECORDINGS

The main characteristics of composer’s music are positive emotions, joy of music and music-playing, contemplation of the ideal or aspiration for it.
The musical language is based on diatonic, consonance's and clear major - minor system.
As a musicologist G. Pelecis is author of two theses about Johannes Ockeghem (XV c.) and Palestrina (XVI c.) as well as more than 30 articles about problems of form in the music of Middle Ages, Renaissance, baroque and a number of Latvian composers.
Georgs Pelecis is born in Riga, 1947, graduated from Aram Khachaturjan’s composition class of the P. Tschaikovsky Conservatoire, Moscow (1970), post graduate research studentship, until 1977, doctor art. (1981), doctor habil. art. (1990). “A Study Of Palestrina Style” is marked by the International Palestrina Center in Rome (1993). G. Pelecis has not long studied at Oxford (1995, Corpus Christi College) and Cambridge (1997, Gonville and Caius College) Universities. His music for Roald Dahl’s “Jack And The Beanstalk” has the world-premiere in the Royal Albert Hall (London). Since 1990 G. Pelecis is professor of the
Latvian Academy of Music. He teaches theory and history of counterpoint and fugue. He was the first president of the Riga Centre of Early Music. As a composer G. Pelecis took part in different music festivals ("Alternativa"- Moscow; Lochenhaus - Austria)

GEORGS PELECIS COMMENTS:

Music is written for one of two main reason: either to make some intellectual address to the listener, or for the sake of music itself. I feel closer to the second. All my creative inspiration comes from music, the nation of euphony as an embodiment or reflection of the ideal. Aspiration to that ideal is the most important theme of my work.
My musical language and idioms are undoubtedly influenced by what I have learned and enjoyed of past musical culture, those expressions of melody, rhythm, harmony which follow a line from the ars nova of the 14th century, through the music of 17th century Italy, Germany, England and France, up to the music of our own time. Folklore also contributes to that fund of understanding.
There is nothing stylized - or even polystylistic - about my music. I have no clear sense of “old” or “contemporary”. For me, all great and irresistible music is simply the gleam of the ideal and represents the psychological drama of a mind confronting the unattainability of that ideal. To that extent, and though the inner circumstances are very different. I feel common cause with the Beethoven of the last sonatas.
The word “ideal” may even be too high-flown. It might be simpler to speak of the feelings of joy and delight which can be given by music. I give the title “All the Family is Singing” to my collection of songs, in order to give a sense of the joy of shared music-making.
I have no desire to stylize older music's, but simply to give life to music as a principle of euphony and to maintain it as long as possible. In that, I am “contemporary”, I think. In any case, the most attractive aspects of older music are usually the most transient, and the best themes in classical music are exhibited only briefly.
My favorite contemporary composers are Arvo Paert, Vladimir Martynov, Alexander Gugel… I also feel a kinship with minimalism and the repetitive style, particularly in the music or Steve Reich. However, such a superficial conception of musical beauty confuses me, and I’m disturbed by the pagan spell-weaving, and narcotic-schizophrenic persistence of musical material which are characteristic of minimalist works.
But I value the extension of musical time and beauty and would love to offer whole concert programs of works. This is not jealousy or fear of competition. It is simply important to recognize that at a concert, a listener’s feelings, far from being confronted by an indivisible aesthetics or united intention, are conditioned from moment to moment by a different creator’s point of view. During the concert, the voices of different works and thus different composers mustn’t be allowed to crowed out or smother one another.

 
TO CONTACT:

Dzirciema iela 21-5, Riga, LV-1083, Latvija
Telephone: +371 2452909
Fax :+371 7820271
(Latvian Academy of Music)
pelege@music.lv


 
 

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07/03/02