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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.
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