Anna Peletsis Final Paper

The Piano Music of Georgs Pelēcis:
A Study of Selected Works
Anna Peletsis
Schulich School of Music, McGill University, Montreal
August 2017
A paper submitted to McGill University in partial
fulfillment of the requirements of the degree of D.Mus. Performance Studies
© Anna Peletsis 2017

Acknowledgements
I would like to take this opportunity to express my sincere gratitude to my piano teacher,
Prof. Marina Mdivani, and the members of my Doctoral Advisory Committee, Prof. Eleanor
Stubley, Prof. Chris Paul Harman, and Prof. Stéphane Lemelin for their valuable contribution to
this work, their comments and ideas.
Special thanks to Georgs Pelēcis for allowing me to access his private archive.
To my colleagues, pianists Tatiana Dardykina, Geoffrey Conquer and Jeremy Chaulk,
and musicologist Michael Turabian for their encouragement, help, and support.
Finally, to my parents and family for their patience, understanding, and belief in me.
ii
Abstract
This paper discusses three works for piano by the Latvian composer Georgs Pelēcis: Prelude in F
major from Descendente per Tertias (2008), Marche funèbre (1998), and New Year’s Music
(1977). Analysis of each work’s form, melody, harmony, and rhythm reveal characteristic
features of the composer’s style such as diatonicism, major-minor modal interplay, and the use
of persistent rhythmic patterns. Published interviews with the composer are used in order to
establish his aesthetic principles. Where appropriate, other works (by Pelēcis, and others) are
referenced as possible sources of inspiration. Aspects of performance practice for each work are
also discussed, providing suggestions for pianists who are interested in performing these works.
Abstrait
Ce travail se concentre sur trois œuvres pour piano du compositeur letton Georgs Pelēcis:
Prélude en fa majeur, extrait de Descendente per Tertias (2008), Marche funèbre (1998), et New
Year’s Music (1977). Ces trois pièces sont analysées avec des paramètres musicaux tels que la
forme, la mélodie, l'harmonie et le rythme, qui révèlent des traits caractéristiques du style du
compositeur: le diatonisme, l’interaction entre majeur et mineur, et des motifs rythmiques
continuels. Les principes esthétiques du compositeur sont définis grâce à des entretiens publiés
avec lui. Le cas échéant, d'autres œuvres de Pelēcis ou d'autres compositeurs sont référencées
comme de possibles sources d'inspiration. Chaque pièce a également fait l'objet d'une étude des
différents aspects de l'interprétation, afin de fournir des suggestions aux pianistes souhaitant
jouer ces œuvres.
iii
Contents
Introduction ............................................................................................................................... 1
Chapter I. Prelude in F Major from Descendente per Tertias (2008): Stylistic Features of a
Small-Scale Work ...................................................................................................................... 4
1.1 Overview ............................................................................................................................. 4
1.2 Stylistic Influence and Socio-Cultural Context ................................................................... 5
1.3 Melody and Harmony .......................................................................................................... 7
1.4 Rhythm .............................................................................................................................. 10
1.5 Challenges for the Performer ............................................................................................. 11
Chapter II. Marche Funèbre (1998): Treatment of the Funeral March Model ....................... 15
2.1 Overview ........................................................................................................................... 15
2.2 Spirituality and Marche Funèbre ...................................................................................... 17
2.3 Form and Tonal Design ..................................................................................................... 19
2.4 The A section ..................................................................................................................... 20
2.5 Minimalist Stylistic Influence ........................................................................................... 22
2.6 The B section ..................................................................................................................... 24
2.7 The C section and Coda ..................................................................................................... 27
2.8 Performance Challenges .................................................................................................... 29
Chapter III. New Year’s Music (1977): A Synthesis of Pelēcis’ Stylistic Elements ............... 31
3.1 Overview and Formal Structure ........................................................................................ 31
3.2 The A section ..................................................................................................................... 31
3.3 The B section ..................................................................................................................... 36
3.4 The C and D Sections ........................................................................................................ 37
3.5 The E section ..................................................................................................................... 39
3.6 Challenges for the Performer ............................................................................................. 43
Conclusion ............................................................................................................................... 50
Bibliography ............................................................................................................................ 53
iv
List of Examples
Example 1: Pelēcis, Prelude in F major, mm. 1-15................................................................... 6

Example 2: Koval, Pioneer March, mm. 1-5 ............................................................................ 6
Example 3: Mussorgsky, Promenade from Pictures at an Exhibition, mm. 1-2 ...................... 7
Example 4: Pelēcis, Prelude in F major, mm. 78-81................................................................. 8
Example 5: Pelēcis, Prelude in F major, mm. 1-8 ..................................................................... 8
Example 6: Pelēcis, Prelude in F major, mm. 16-20................................................................. 9
Example 7: Khachaturian, Toccata from Pictures of Childhood, mm. 91-92 ......................... 10
Example 8: Pelēcis, Joyful March No.1, mm. 1-8 ................................................................... 10
Example 9: Pelēcis, Joyful March No.2, mm. 15-18 ............................................................... 11
Example 10: Prokofiev, March from The Love of Three Oranges, mm. 1-3 .......................... 11
Example 11: Pelēcis, Scherzo-Toccata, mm. 87-89 ................................................................ 12
Example 12: Pelēcis, Suite No.5, Movement 3, mm. 56-58 .................................................... 13
Example 13: Khachaturian, Piano Concerto, Movement 3, mm. 380-383 ............................. 13
Example 14: Prokofiev, Suggestion Diabolique, Op. 4 No.4, mm. 74-77 .............................. 13
Example 15: Korndorf, A Letter to V. Martynov and G. Pelēcis, system 1 ............................ 14
Example 16: Pelēcis, Marche funèbre, mm. 1-12 ................................................................... 16
Example 17: Khachaturian, Funeral Procession from Pictures of Childhood, mm. 1-8 ........ 16
Example 18: Chopin, Marche funèbre from Second Piano Sonata, Op. 35, mm. 1-4 ............ 21
Example 19: Pelēcis, Marche funèbre, mm. 7-18 ................................................................... 23
Example 20: Pärt, Für Alina, mm. 4-5 .................................................................................... 23
Example 21: Pelēcis, Marche funèbre, mm. 181-183 ............................................................. 24
Example 25: Martynov, Bricolage, mm. 473-476 ................................................................... 27
Example 27: Chopin, Marche funèbre from Second Piano Sonata, Op. 35, mm. 31-38 ........ 28
Example 30: Pelēcis, New Year’s Music, mm. 214-221.......................................................... 33
Example 31: Russian Folk Song Vo Pole Beriezka Stoyala .................................................... 34
Example 32: Pelēcis, New Year’s Music, mm. 1-6.................................................................. 34
v
Example 37: Pelēcis, Piano Sonata, Movement 2, mm. 1-4 ................................................... 38
Example 38: Pelēcis, Suite No.1, Movement 2, mm. 82-93 .................................................... 38
Example 39: Khachaturian, Romance from Masquerade Suite, mm. 1-6 ............................... 39
Example 42: Glass, Metamorphosis Two, mm. 35-38............................................................. 41
Example 47: Pelēcis, Suite No.1, Movement 4, mm. 473-479 ................................................ 46
Example 48: Pelēcis, Joyful March No.1, mm. 104-111 ......................................................... 46
Example 51: Pelēcis, Prelude in E Major, mm. 57-63 ............................................................ 47
Example 52: Khachaturian, Piano Concerto, Movement 3, mm. 374-377 ............................. 48
Example 54: Beethoven, Piano Sonata, Op. 2 No.3, Movement 1, mm. 1-4 ......................... 48
vi
List of Tables
Table 1: Tonal plan of Pēlecis’ cycle, Descendente per Tertias ............................................... 4

Table 2: Formal plan for Pelēcis’ Prelude in F Major .............................................................. 5
Table 3: Formal plan for Pelēcis’ Marche funèbre.................................................................. 20
Table 4: Formal plan for Pelēcis’ New Year’s Music .............................................................. 31
Table 5: Pelēcis, New Year’s Music, phrase organization of the A section ............................ 32
vii
The Piano Music of Georgs Pelēcis: A Study of Selected Works
Introduction
Georgs Pelēcis was born in 1947 in Riga, Latvia and studied composition with the
prominent Soviet composer Aram Khachaturian at the Tchaikovsky Moscow State
Conservatory. Pelēcis is regarded as one of the most distinguished composers in Latvia: he is
a holder of the Latvian Order of the Three Stars - the highest state honour in Latvia - awarded
for merit in service to the country. Pelēcis’s concerto Nevertheless (1994) received the 2001
Akka Laa prize as the work by a Latvian composer most frequently performed abroad, both
live and recorded.
Pelēcis’ works in different genres are performed internationally. Examples include the
symphonic music for Roald Dahl’s Jack and the Beanstalk (1996), which received its world
premiere in 1996 at the Royal Albert Hall in London, UK by the Royal Philharmonic
Orchestra, and the concerto Nevertheless (1994), which inspired a ballet production by the
Pittsburgh-based Dance Alloy troupe who presented the work under the direction of Mark
Taylor in Pittsburgh, USA in 2000. The most recent performances of his symphonic works,
All in the Past (1999) and Concertino Bianco in C (1990), took place in 2017 in Sidney,
Australia by the Tasmanian Symphony Orchestra, and were broadcast nationwide by the
Australian Broadcasting Corporation.
With regard to Pelēcis’ style, musicologist Inese Lūsiņa commented:
He addresses us, cultivating positive, bright emotions, releasing a child-like happiness
and sonic playfulness. A fatal counterforce battle drama is not in his element, his main
consideration is for the music to sound harmonious. Harmony is a concordance and
balance ideal. The revolutionary discoveries in 20th century sound language (atonality,
1
dodecaphony, microtones, sonoristics, many different so-called artificial modes) do
not interest Pelēcis, and in the 21st century he is satisfied with the standard major and
minor.1
This view is affirmed by the composer himself. When asked about his artistic vision,
Pelēcis remarked:
I know that for me euphony is very important - imperfect consonances... This is an
aesthetic factor. In general, I like beauty, because life is beautiful. And Absolute is
beautiful – God, Creator, Spirit – He is not only almighty, but He is also the most
beautiful of everything that exists. He cannot create anything that would not be
beautiful. Everything that is created by Absolute – life, human being – is beautiful.
Everything that is alive is beautiful. This is what we need to learn. We are meant to
perceive beauty. God created Paradise, created human beings: go, please, to Paradise
and take care of it. This is the initial idea, isn’t it? And it metaphysically remains until
nowadays – until new people are born, they are born with this purpose. Like Adam
and Eve, like us. I would gladly feel myself in music as such a gardener. 2
Exploring the spiritual aspect is thus important for understanding Pelēcis’ music. Art critic
Svetlana Vidiakina holds the view that Pelēcis’ music is a reflection of his soul and his
spiritual state, such that the musician and the human being are one. 3 This will be discussed in
more depth in section 2.2.
1
Lūsiņa, Inese. Georgs Pelēcis. (Latvian Music Information Centre Brochure, 2003).
2
Petraškevičs, Jānis and Georgs Pelēcis. “Meistara slepenās lietas,” Rīgas Laiks 3 (2017): 62. (Translated by
author, AP).
3
Vidiakina, Svetlana. “Georgs Pelēcis,” accessed July 19, 2017, http://www.russkije.lv/ru/lib/read/georgy-
peletsis.html (translated by author, AP).
2
The piano compositions of Georgs Pelēcis include the six Suites (1980-2008), Autumn
Music (2011), the thirty preludes Descendente per tertias (2008), Correspondence (2003) - a
joint composition with Vladimir Martynov, Marche Funèbre (1998), Sonata (1988), New
Year's Music (1977), Variations (1965), and Scherzo-Toccata (1964), among others. For the
purposes of my research, I have selected three piano compositions for analysis: Prelude in F
Major from the cycle Descendente per tertias (2008), Marche Funèbre (1998), and New
Year’s Music (1977). Contrasting in scope and period of composition, these three works share
certain characteristic features of the composer’s style: diatonicism, major-minor interplay,
and persistent rhythmic patterns.
To elucidate features of Pelēcis’ style, I will analyze the form, melody, harmony, and
rhythm of these three works, and where appropriate, will reference other works (by Pelēcis,
and others) as possible sources of inspiration. Aspects of performance practice for each work
will also be discussed.
Pelēcis’ work makes for challenging interpretation, because the composer provides
very few dynamic or expressive markings. When questioned about the lack of performance
indications in his scores, Pelēcis replied in a straightforward manner: “I trust the interpreter
of my music and I leave time and space for the interpretation.” 4 Thus, the composer himself
gives the performer license to approach the performance of his music in a creative way. It is
my belief, however, that this should not lead to indiscriminate performance decisions. Hence
the goal of my discussion, given the scarcity of performance indications, is to deepen
performers’ understanding of the stylistic features by way of an analytical approach to form,
harmony, rhythm, melody, and texture.
4
Krauja, Vita and Georgs Pelēcis. “Baltās vārnas augstais lidojums” Kultūr Zīmes, February 14 to 20, 2017, 3.
(Translated by author, AP).
3
Chapter I. Prelude in F Major from Descendente per Tertias (2008): Stylistic Features of
a Small-Scale Work
1.1 Overview
Descendente per Tertias or “Descending by Thirds” is a cycle of thirty preludes
composed within the framework of an innovative tonal plan. Specifically, the thirty pieces are
arranged to cover all of the major and minor keys, beginning with C-sharp major and
descending by thirds to A-flat minor. Each major key prelude is followed by a prelude in its
relative minor. The composer uses enharmonic equivalents to employ all of the thirty existing
major and minor keys. Table 1 outlines the tonal progression of the cycle.
Table 1: Tonal plan of Pelēcis’ cycle, Descendente per Tertias
1: C-sharp major 11: D major 21: E-flat major
2: A-sharp minor 12: B minor 22: C minor
3: F-sharp major 13: G major 23: A-flat major
4: D-sharp minor 14: E minor 24: F minor
5: B major 15: C major 25: D-flat major
6: G-sharp minor 16: A minor 26: B-flat minor
7: E major 17: F major 27: G-flat major
8: C-sharp minor 18: D minor 28: E-flat minor
9: A major 19: B-flat major 29: C-flat major
10: F-sharp minor 20: G minor 30: A-flat minor
4
The Prelude in F major No. 17, from Descendente per Tertias demonstrates
characteristic features of Pelēcis’ style including diatonicism, major/minor interplay, a
continuously‐sounding texture without silences, and phrase pairings in which two phrases ‐
each of two bars ‐ are grouped together by similarity or in which the second is a variant of the
first. Table 2 provides an overview of the formal plan of the Prelude in F major.
Table 2: Formal plan for Pelēcis’ Prelude in F Major
Section Measure numbers

Introduction 1-6
A 7-14
B 15-30
A 31-36
Developmental section 37-56
A1 57-64
B 65-81
1.2 Stylistic Influence and Socio-Cultural Context
The Prelude in F major demonstrates features associated with the march, such as major
mode, common 2/4 time, a rhythmic ostinato reminiscent of a drum pattern, even phrase
structures (2, 4 or 8 bar phrases), and triadic melodic contours. 5 As can be seen in example
1, the key is F major, the meter is 2/4, the rhythmic pattern is an ostinato of one eighth-note
and two sixteenth-notes played at a ♩=100 (thereby reminiscent of a drum pattern), the phrase
lengths are organized in even numbers of bars, and the melody occasionally has a triadic
5
Schwandt, Erich and Andrew Lamb. “March,” Grove Music Online, Oxford Music Online, accessed on July 8,
2017. http://www.oxfordmusiconline.com.proxy3.library.mcgill.ca/subscriber/article/grove/music/40080.
5
contour (especially in the introduction). Thus, these elements allow one to infer the stylistic
influence of the march.
Example 1: Pelēcis, Prelude in F major, mm. 1-15
One may note rhythmic similarities between the Prelude in F major (example 1) and
the Pioneer March (1932) by the Soviet composer Marian Koval (example 2). Note the 2/4
time signature and the rhythmic pattern of one eighth-note and two sixteenth-notes.
Example 2: Koval, Pioneer March, mm. 1-5
Characteristic features of the march allow one to situate this piece within the socio-
cultural context of the composer’s Soviet-ruled youth of the late 1950s and early 1960s.
6
During this period, pioneer camp calls and marching songs were part of everyday life for a
Soviet adolescent.6 It is my impression that these attributes of everyday life were in line with
the predominant ideas of the totalitarian Soviet regime that encouraged cheerful collective
spirit among the youth. Thus, the composer’s upbringing may have contributed to the use of
march elements in his music. Other examples of Pelēcis’ march-influenced music include
Two Joyful Marches (2010) that will be referenced in sections 1.4 and 3.6.
1.3 Melody and Harmony
The introduction of the Prelude in F major is characterized by the triadic contour of
the melody: F–A–C, A–C–F, C–F–A with the passing tones of D, G, and B flat (example 1).
The melodic material that follows is mostly pentatonic and is based on five notes: F, G, A, C,
D. Pentatonic scales are five-note scales often associated with folk music.7 One example of a
pentatonic melody in piano literature may be found in the well-known Promenade from
Pictures at an Exhibition (1874) by Modest Mussorgsky (example 3).
Example 3: Mussorgsky, Promenade from Pictures at an Exhibition, mm. 1-2
6
Mikkonen, Simo. Music and Power in the Soviet 1930s: A History of Composers' Bureaucracy. (Lewiston,
NY: Edwin Mellen Press, 2009), 196.
7
Day-O’Connell, Jeremy. “Pentatonic,” Grove Music Online, Oxford Music Online, accessed on July 8, 2017,
http://www.oxfordmusiconline.com.proxy3.library.mcgill.ca/subscriber/article/grove/music/21263.
7
While Mussorgsky uses the pentatonic to create a singing, melodic monophony, Pelēcis uses
it in tandem with persistent rhythmic patterns in both hands.
The harmony of Pelēcis’ Prelude in F major is characterized by switches in modality,
specifically, a major–minor interplay that is present throughout the piece. Although F major
is the main key, as indicated within this cycle by the composer, the Prelude ends on a D
minor chord without a cadence or modulation, emphasized by the rests that precede it
(example 4).
It is interesting to note that the dominant function in F major is employed only in the
introduction. A functional dominant seventh chord in F major, with an added fourth, is
emphasized by its repetition in the three subsequent measures, as shown in example 5:
8
The composer uses the resonance and the large tessitura of the piano to situate this dominant
harmony in a variety of registers. An interpreter may use this as an opportunity to showcase
the tonal colours that this register variety has to offer.
Another important sonoristic feature arises from varied harmonic colourings of the
same pitches or pitch combinations in the upper voices. For example, in the B section,
starting from measure 17, the upper structure is fixed as a pedal chord (F, E, A) while the
lower parts descend in parallel triads in their second inversions through the F major mode
(example 6).
The use of pedal tones in the upper structure contributes to the piece’s distinctive colouring.
For an interpreter the execution of this chordal passage poses a challenge in distinguishing
the moving parts from the fixed ones by means of different timbre employment. A pianist
may achieve this by balancing the sonority with variations in touch. Thus, the repeated chords
in the right hand may be executed in a lighter manner, while the moving chords in the left
hand may call for a weightier touch in order to bring out the descending line.
One may find a similar triadic succession in an excerpt from Toccata (1967) by
Pelēcis's teacher Aram Khachaturian (example 7). In contrast with the Pelēcis (example 6),
Khachaturian's second‐inversion triadic succession is employed in the upper voices, and with
a contrasting ascending figure in the bass voice instead of a repeated pedal chord.
9
Example 7: Khachaturian, Toccata from Pictures of Childhood, mm. 91-92
1.4 Rhythm
The rhythmic aspect is arguably the most distinctive march-like feature of the Prelude
in F major. The march association is particularly strong due to the consistent rhythmic
activity – an ostinato pattern of one eighth-note and two sixteenth-notes – reminiscent of a
drum pattern. This rhythmic pattern persists throughout the piece.
A comparison of Pelēcis's Prelude in F Major in example 1 with his Two Joyful
Marches (2010) in examples 8 and 9 and Prokofiev's The Love of Three Oranges, March
(1919) in example 10, demonstrates obvious similarities in rhythmic patterning, further
supporting the idea of implicit march influences in the Prelude in F Major.
Example 8: Pelēcis, Joyful March No.1 (2010), mm. 1-8
10
Example 9: Pelēcis, Joyful March No.2 (2010), mm. 15-18
Example 10: Prokofiev, March from The Love of Three Oranges, mm. 1-3
While the example from Prokofiev demonstrates occasional use of this rhythmic pattern, in
Pelēcis’ Prelude in F major the same pattern is consistently present throughout the entire
piece.
Another distinct rhythmic feature of the Prelude in F major is the composer’s
contrasting treatment of the rhythm in the A and B sections. While there are two rhythmic
layers in the A section – a melodic rhythm in the right hand and an accompanying ostinato
rhythm in the left hand (see measures 7-14 of example 1) – the B section is monorhythmic
(example 6).
1.5 Challenges for the Performer
The ideas discussed in section 1.2 may be taken into account to inspire the sensation
of marching while performing the Prelude in F major. The interpreter may aim for a steady
11
rhythmic feel and clear articulation to reinforce the rhythmic pulsation. The percussive
potential of the piano may be used to support this interpretation.
Exploration of the percussive attributes of the instrument has been a common and
longstanding characteristic of Pelēcis’ piano writing. This feature was evident as early as his
first opus for piano, Scherzo-Toccata (1964, example 11).
Example 11: Pelēcis, Scherzo-Toccata, mm. 87-89
The repeated chords in Scherzo-Toccata, played at a ff dynamic at a tempo of ♩.= 160,
unavoidably emphasize the percussive nature of the piano. In both the early Scherzo-Toccata
(example 11) and the late Prelude in F major (example 6) the repeated-chord texture is used
throughout.
This stylistic trait shows signs of inspiration from Pelēcis’ composition teacher, Aram
Khachaturian. A similarity in treatment of the block chord textures can be seen in examples
from Pelēcis’ Prelude in F major (example 6), the third movement from Pelēcis’ Suite No.5
(2008, example 12) and the third movement from Khachaturian’s Piano Concerto (1936,
example 13).
12
Example 12: Pelēcis, Suite No.5, Movement 3, mm. 56-58
Example 13: Khachaturian, Piano Concerto, Movement 3, mm. 380-383
Another source of inspiration for Pelēcis can be found in Sergei Prokofiev’s piano
writing, where the percussive timbre of the piano is exploited to the utmost. For example,
Prokofiev’s Suggestion Diabolique from Op. 4 (1912) demonstrates the wide use of chordal
texture with repetitions at a Prestissimo tempo (example 14).
Example 14: Prokofiev, Suggestion Diabolique, Op. 4 No.4, mm. 74-77
This type of texture may also be found in the works of Pelēcis’ contemporary, Nikolai
Korndorf (1947-2001), which we can see in example 15.
13
Example 15: Korndorf, A Letter to V. Martynov and G. Pelēcis (1999), system 1
The repeated-chord texture of the Prelude in F major presents significant challenges
for the performer and requires certain virtuosic abilities. It calls for precision in operating the
double-escapement action of the piano while at the same time keeping the steady rhythmic
flow dictated by the march influence. In light of this, a quick and precise attack of the
fingertips may be an appropriate tool for the execution of the one eighth-note and two
sixteenth-notes rhythmic pattern.
The rhythmic texture in the B section (example 6) raises a question of interpretation
regarding the choice of dynamics when performing the repeated chords. Since the composer
puts only one dynamic marking – forte – at the beginning, the question remains whether this
indicates the main dynamic for the entire piece or applies only to the opening measures. For
the performer, the number of notes in each chord creates a rather thick and heavy sonority.
Bearing in mind that these chords need to be executed at a speed of ♩=100, performing the
passage at a softer dynamic may result in poor hammer action. Thus, a continuous forte
dynamic would be the clear choice.
14
Chapter II. Marche Funèbre (1998): Treatment of the Funeral March Model
2.1 Overview
In contrast with the Prelude in F major, Marche Funèbre is a larger‐scale composition
(over 20 minutes in length), containing 335 measures in 4/4 time (with a change of meter to
12/8 in the middle), at a pulse of ♩= 56. Both works share certain stylistic features such as
major‐minor mode interplay, a rhythmic (and in the case of Marche Funèbre, melodic)
ostinato, and pedal points.
Marche Funèbre also shares similarities with several 19th century funeral marches
from the Western classical concert repertoire: minor mode; pervasive dotted‐rhythms; slow
tempo; and quadruple meter.8 Some examples from the 19th century repertoire include: Franz
Schubert’s Grande Marche Funèbre d’Alexandre I (1825), Felix Mendelssohn’s
Trauermarsch from Songs Without Words, Op. 62, No.3 (1843), Ludwig van Beethoven’s
Marcia funebre sulla morte d’un Eroe from Piano Sonata, Op. 26 (1801), Frederic Chopin’s
Marche funèbre, Op. 72, No.2 (1827) and Marche funèbre from Second Piano Sonata, Op. 35
(1837).
However, Pelēcis’ Marche funèbre differs from the above examples in its form and
tonal design, which will be explored further in section 2.3. Also, its considerable length -
roughly twenty minutes as indicated by composer - sets this piece apart from the
aforementioned examples.
Pelēcis’ work is a rare example of a concert funeral march from the 20th century
piano repertoire, which also includes Funeral Procession from Pictures of Childhood (1947)
8
Hilfiger, John Jay. “Funeral Marches, Dirges, and Wind Bands in the Nineteenth Century,” Journal of Band
Research, 28, no. 1 (Fall, 1992): 1-14.
15
by Pelēcis’ teacher, Aram Khachaturian. However, these two works sharply contrast in their
texture, harmonic language and dynamics as can be seen in examples 16 and 17.
Example 16: Pelēcis, Marche funèbre, mm. 1-12
Example 17: Khachaturian, Funeral Procession from Pictures of Childhood, mm. 1-8
16
2.2 Spirituality and Marche Funèbre
Consideration of the spiritual dimension is important for understanding Pelēcis’
music. It has been noted that religion in general plays a major role in the composer’s life and
work. 9 Expression of the ideals of Christianity and the spiritual element are characteristics of
Pelēcis’ overall output, most explicitly in his choral and vocal symphonic compositions.
These include choral works based on the complete texts of the 150 Biblical Psalms of David
(2000-2010) for mixed a capella choir in the Latvian language, Christmas Oratory Christ is
Born (2000), Easter Oratory Christ is Risen (1996), and the oratory God is Love (2001).
Pelēcis considers it his mission to present spiritual music in a modern concert setting:
Many composers consider themselves Christians. I am not sure, whether truly
Orthodox music can sound in a concert space, outside of a church. However, I think
that this is very important, vitally important in our times. Isn’t it inspiring, the idea to
call for eternal values and ideals of Christianity outside of a church fence? There, in
10
concert halls, where people gather in spiritual search?
Among the composers who work within the tradition of spiritual music is Estonian composer
Arvo Pärt (b. 1935), held in high esteem by Pelēcis. 11 Both composers are further linked by
their affiliation to the Orthodox branch of Christianity.
9
Vidiakina, Svetlana. “Georgs Pelēcis,” accessed July 19, 2017, http://www.russkije.lv/ru/lib/read/georgy-
peletsis.html (translated by author, AP).
10
Straznov, Georg and Georgs, Pelēcis. “Apokalipsis: variant kompozitora Georga Pelēcisa,” accessed on July
8, 2017, http://lifenews.vesti.lv/news/apokalipsis-variant-kompozitora-georga-pelecisa (translated by author,
AP).
11
Karp, Ivan. “Peletsis, Georgy,” in Contemporary Composers, eds. by Brian Morton and Pamela Collins.
(Chicago: St. James Press, 1992): 738.
17
It is not by chance that one of Pelēcis’ most extended compositions, related to the
concert representation of spiritual matters, is Requiem Latviense (2006) for mixed choir, four
soloists, organ and chamber ensemble. The composer describes this composition as “a work
about rebirth of a person for a new life.” 12 This idea is reflected in the positive spirit of the
composition, defined by the composer as “not dark, but rather full of light, with a purposeful
ending on Lux Aeterna [Eternal Light].” 13 Thus, the Christian concept of eternal life after
death is significant to the composer.
Another work by Pelēcis on a spiritual subject - the matter of life after death - is
Revelation (2006) for countertenor, trumpet, piano, and string orchestra on the text from the
Book of Revelation of St. John the Divine. According to the composer:
Usually, composers take the beginning from the Book of Revelation of St. John the
Divine, the part that describes horrors and punishment for man’s sins. However, there
is also the final fourth part in it, serene in character, descriptive of New Jerusalem, a
symbol of the Kingdom of Heaven. I took this particular part, full of light and hope,
for my Revelation. I wanted to fill the hearts of the audience with hope and to show
the outcome of the path that will await them if they choose to follow the ways of the
Lord. 14
Pelēcis’ concept of Marche funèbre is in line with his reflections upon the matter of
death. Regarding the model of the funeral march musicologist Richard N. Burke notes:
12
Shavrey, Andrey and Georgs Pelēcis. “Requiem – eto ne strashno,” Zhizh zamechatelnyh liudei 45, no. 106
(2006): 30. (Translated by author, AP).
13
Lūsiņa, Inese and Georgs Pelēcis. “Lūk, ceriņi! Lūk,jasmīns!” Kulturas diena un izklaide February 16, 2017,
11. (Translated by author, AP).
14
Straznov, Georg and Georgs, Pelēcis. “Apokalipsis: variant kompozitora Georga Pelēcisa,” accessed on July
AP).
18
The funeral march has traditionally been approached in a very special way by
composers. Like the Requiem, which is not simply a kind of Mass, the funeral march
is inseparable from the profound purpose which its original function served – the
burial of the dead. But in sharp contrast to the Requiem, the funeral march is a secular
work. 15
However, despite the aforementioned secularity of funeral marches, in Pelēcis’ case it
can be argued that the religious spirit is present in his Marche funèbre. Since Requiem
Latviense, Revelation and Marche funèbre all share a common theme that deals with the
matter of death, we might assume that the composer’s words regarding the former two may
also apply to Marche funèbre. The major mode prevails throughout Revelation including its
ending, which can be linked with the aforementioned hopeful emotional state sought by the
composer, and motivated by his belief in the afterlife in the Kingdom of Heaven. Similarly,
Marche funèbre makes extensive use of the major mode, which is established from the B
section of the work until the end (see table 3). Thus, it is possible to assume a somewhat
similar religious theme for the work in discussion and consider it an example of a spiritually
inspired concert repertoire.
2.3 Form and Tonal Design
Typically, funeral marches are composed in ABA form, with contrasting musical
material presented in the middle (B) section. 16 In contrast, Pelēcis’ Marche funèbre has
features of through-composed form such as the constant renewal of musical material and
15
Burke, Richard N. “The ‘marche funebre’ from Beethoven to Mahler.” (Ph.D. Diss., City University of New
York, 1991), 21.
16
Ibid., 241.
19
absence of repeats. This design is consistent with through-composed form, defined as: “a
form in which there is an absence of distinct restatements.” 17 Table 3 outlines the formal
plan of the work.
Table 3: Formal plan for Pelēcis’ Marche funébre

Section Measure numbers
A 1-181
B 182-283
C 284-327
Coda 328-335
Another characteristic difference between Pelēcis’ work and the examples referenced
in section 2.1 is its tonal design. In other examples of funeral marches, the B section of the
ABA form usually takes the relative major key. Thus, the contrast between the A and the B
sections in the traditional ABA layout is emphasized by a tonal juxtaposition. However, this
is not the case in Pelēcis’ composition: instead of a direct juxtaposition of minor and major
tonalities, the tonal shift from C minor to E-flat major occurs gradually over the course of the
B section from measure 182 to measure 217. E-flat major prevails in the C section and
remains until the very end of the piece. Thus, the home C minor key does not return as it does
in the other examples of funeral marches. These two aspects of form and tonal design
contribute to the uniqueness of Pelēcis’ approach to the funeral march. The possibility of a
religious theme underlying such tonal treatment was discussed in section 2.2.
2.4 The A section
The A section presents an interplay between two harmonies: the tonic of C minor and
the major triad on A-flat, the sixth degree of the C natural minor scale. Although there is no
17
Mathes, James. The Analysis of Musical Form. (Upper Saddle River, N.J.: Pearson Prentice Hall, 2007), 373.
20
dominant function employed in this section, there are several features that emphasize C minor
as the tonic: a key signature with three flats; the prevailing number of measures with C minor
harmony (134 measures of C minor out of 181 measures); the presentation of C minor as the
first harmony in the piece; and a plagal cadence relationship between C minor and A-flat
major triads. Note that a plagal cadence may be defined as: “a cadence in which the
subdominant (IV), or a subdominant related harmony (VI, lowered VI, II, or lowered II)
resolves to a root position tonic triad.” 18 Thus, in the case of this section, the relationship
between I and VI can be conceptualized as a plagal cadence (see measures 9 and 10 of
example 16).
Interestingly, the same harmonic progression of I-VI is employed by Chopin in his
Marche funèbre from Second Piano Sonata, Op. 35 (example 18).
Example 18: Chopin, Marche funèbre from Second Piano Sonata, Op. 35, mm. 1-4
I VI I VI etc.
In Chopin’s case these two harmonies alternate regularly throughout the 14 measures
of the opening, as opposed to Pelēcis’ work, where the alternation occurs less frequently and
less regularly.
From a performance standpoint, knowledge of these harmonic relationships may
inspire a choice of phrasing that enhances a sense of tension and release. Thus, the VI may
18
Ibid., 371.
21
receive more intensity of touch, followed by a softer touch for the tonic. Such an approach
may also be applied to the execution of the right-hand short melodic phrase in measures 9-10,
since it begins on the VI, and ends on the tonic, contributing to the sense of tension-release
provided by the left-hand harmony (example 16).
2.5 Minimalist Stylistic Influence
Minimalist stylistic influences may be found in certain aspects of the A section in its
harmony, rhythm, and melody. Minimalism is noted for its harmonic simplicity, use of
diatonic pitch collections, slow harmonic rhythm, repeated rhythmic patterns, and absence of
an extended melodic line. 19 The A section of Marche funèbre features diatonicism, an
accompanimental ostinato that persists for the first 181 measures, and an absence of any
extended melodic line for the first 111 measures.
These features relate Pelēcis’ work to that of other composers of minimalist aesthetic,
such as his contemporaries Vladimir Martynov, Nikolai Korndorf, Arvo Pärt. In Pelēcis’ own
words: “Surely, we are all of one blood, as Mowgli said in The Jungle Book of Kipling, with
my colleagues, the so-called minimalists.” 20 Notably, the use of unresolved dissonance in a
diatonic context relates Pelēcis’ work to that of Arvo Pärt. As seen in measures 10-13 of
Marche funèbre (example 19), C in the bass and D in the melody form a ninth on the
downbeat, which is emphasized by a four-measure pause. In a somewhat similar manner, in
measure 5 of Pärt’s Für Alina (1976) the interval of a ninth is held for a whole-note length
(example 20).
19
Johnson, Timothy A. “Minimalism: Aesthetic, Style, or Technique?” The Musical Quarterly. 78, no. 4,
(1994): 748.
20
Shavrey, Andrei and Georgs Pelēcis. “Ya ditja svoego veka,” Published on February 19, 2017. Accessed July
4, 2017. http://rus.lsm.lv/statja/kultura/kultura/georg-pelecis-posle-mirovoy-premeri-svoego-proizvedenija--ya-
ditja-svoego-veka.a224508/ (translated by author, AP).
22
Example 20: Pärt, Für Alina, mm. 4-5
It can be argued that these minimalist techniques are consistent with the static
character of the traditional funeral march. As Burke observes:
Once the funeral march begins, unlike programmatic music, there is a sense of stasis.
This is a paradox. There is a feeling of lack of motion, of not going anywhere, and yet
during a march there is obviously motion from one place to another. But the landscape
23
is not viewed – the music is intended to prevent this. Instead, all attention is directed
towards the person mourned; this attention is meditative rather than narrative. 21
The static quality of a funeral march expressed in this view can be understood in
relation to Pelēcis’ Marche funèbre. It is most explicit in the A section with its meditative
character suggested by its slow harmonic rhythm and persistent accompanimental ostinato.
2.6 The B section
The beginning of the B section in measure 182 (example 21) is marked by a number
of changes: the time signature changes from 4/4 to 12/8 (♩=♩.); the accompanimental ostinato
rhythm changes from sixteenth‐notes, dotted eighth‐notes and half-notes in the previous
meter to eighth‐notes in the new meter; and the melody employs coupling, in contrast with
the single‐voice line of the A section.
The B section is characterized by a large-scale harmonic plan that involves a gradual
tonal shift from C minor to E-flat major between measure 182 and measure 217. The turning
21
Burke, Richard N. “The ‘marche funebre’ from Beethoven to Mahler.” (Ph.D. diss., City University of New
York, 1991), 22.
24
point in the structure occurs when E-flat major appears for the first time as a third degree in C
minor as seen in measure 190 of example 22.
This harmony is emphasized by a two-bar pause. It is fruitful for the performer to reflect on
the possibility of highlighting the interaction of C minor and E-flat major keys by such means
as dynamics and articulation. For instance, I elect to use a more legato articulation with a
softer dynamic for the C minor triplet phrases, and a brighter, ringing tone for the E-flat
major phrases.
The length of each E-flat major phrase, alternating with the two-bar C minor triplet
phrases, increases until the dominant seventh chord of E-flat major occurs in measure 210 as
seen in example 23.
This is the first instance of dominant harmonic function in this work. This dominant
harmony is emphasized by a two-bar pause; however, it does not yet resolve, and the cadence
25
is evaded. As it is the first seventh chord that occurs in this piece, an interpreter may
consider balancing the tones of the chord in such a way that the seventh in the left hand is
highlighted.
The E-flat major melody emerges fully in measures 214-221 (example 24). This is the
first time that it reveals its structure of an eight-bar period subdivided into two four-bar
phrases. Each phrase ending is supported by a perfect authentic cadence in the key of E-flat
major. As such, it is the first time that E-flat major is fully established as the new home key.
Pelēcis' contemporary, the composer Vladimir Martynov (b. 1946), employs a similar
harmonic and textural layout in his Bricolage for piano, written in 1998, the same year as
Marche funèbre (example 25).
26
Example 25: Martynov, Bricolage, mm. 473-476
Martynov's melody consists of longer ascents and descents using only chord‐tones, while
Pelēcis's melody is more elaborate, combining greater numbers of steps and large skips and
employing both chord‐ and non‐chord tones.
2.7 The C section and Coda
The C section is characterized by an extended melodic line in the right hand above a
tonic pedal point, with accompanimental figurations in the left hand (example 26). The
ascending broken-chord accompaniment pattern of the left hand and the register gap between
the two hands may also be found in the trio section of Chopin's Second Piano Sonata,
Marche funèbre (example 27).
27
Example 27: Chopin, Marche funèbre from Second Piano Sonata, Op. 35, mm. 31-38
Another similarity to Chopin’s work is the melodic curve presenting stepwise motion in the
first measure of the melodic phrase, followed by motion in large skips in the second. From a
performance viewpoint, it may be worth extending the time of the reach for the top note of
the large melodic interval (e.g. B-flat to G in measure 285 and elsewhere) by employing
some rubato.
Such parallels with the Romantic style are not coincidental; when asked about his
“fidelity to Romantic ideals of melodism and beauty in music”, Pelēcis remarked:
Occasionally I thought I was perhaps pursuing a wrong path. But I understood that
romanticism was my vocation and my mission. Romanticism is a great value in
music, without which we will not survive. It is like flowers in nature, and I have
always seen myself as a gardener in music. How this is received is not my problem. 22
In the concluding 8 measures of the coda, the rhythmic accompanimental pattern from
the beginning of the work returns, this time in E-flat major as seen in example 28. This is the
22
28
only instance in the entire composition when the musical material makes a return, albeit in a
different key. It is a remarkable moment, given the through-composed formal principle
pervading this work.
2.8 Performance Challenges
The main interpretive challenge of Marche funèbre related to its length and slow
motion lies in choosing the dynamics. Since there are few dynamic markings throughout the
entire score, a performer should reflect on several possible dynamic plans.
For example, there are almost no dynamic markings in the B section. I choose to
project a sense of dynamic growth, with each new appearance of the E-flat major melody at a
louder dynamic, reaching forte when the melody is laid out in widespread thick chords in
measure 234 (example 29). In the meantime, given the increased density of texture, one
should bear in mind that there should be distinct dynamic layers so that the melodic voice is
not overpowered.
29
Another passage in the work that poses a question of dynamic choice is the beginning
of the coda, where the rhythmic left-hand pattern from the beginning of the work returns to
E-flat major (see measures 328-331 of example 28). The dynamic indications in the following
measures 333 and 334, pp and ppp, respectively, may be understood as guidelines for
interpretation. One may assume that the composer conceived a gradual diminuendo toward
the end of the piece, with each chord in the higher register being of a softer dynamic. This
view is further supported by the composer’s use of the low register of the piano, with its
thicker strings and heavier action and where the execution of a dynamic softer than piano
may result in the hammers not functioning properly. Thus, I choose to perform measures 328-
331 piano in order to accommodate the subsequent fadeaway.
30
Chapter III. New Year’s Music (1977): A Synthesis of Pelēcis’ Stylistic Elements
3.1 Overview and Formal Structure
New Year’s Music (1977) is the earliest of the three works discussed. Yet, it is
considered by Pelēcis to be one of the most significant works in his output, the one in which
he realized his compositional path. 23 Indeed, certain characteristic features of the
composer’s later style had already emerged in this early piece, including phrase pairings,
absence of silence, diatonicism, and major-minor mode interplay. For example, both the
Prelude in F major and New Year’s Music feature a modal interplay between F major and D
minor.
New Year’s Music features a through-composed form with the simultaneous use of
phrase pairings. The overall form of the piece can be divided into five sections, as detailed in
Table 4. The divisions are based on contrasts in texture, pacing and rhythmic patterning.
Table 4: Formal plan for Pelēcis’ New Year’s Music

Section Measures numbers
A 1-149
B 150-213
C 214-253
D 254-359
E 360-445
3.2 The A section
The A section is characterized by regular two-bar phrase structures, unified by means
of a regular rhythmic quarter-note pulse. In this paper, a two-bar unit is identified as a phrase
23
31
according to the following definition: “Any segment of music that is perceived as a complete
or self-contained unit.” 24 The A section’s organization by phrases is presented below in
Table 5. 25
Table 5: Pelēcis, New Year’s Music, phrase organization of the A section
Group Phrase Measure Group Phrase Measure Group Phrase Measure

numbers numbers numbers
1 1 1-2 13 5 61-62 25 17 109-110
1 3-4 5a 63-64 17 111-112
1a 5-6
1 7-8
2 2 9-10 14 6 65-66 26 18 113-114

2 11-12 6 67-68 18a 115-116
3 3 13-14 15 7 69-70 27 19 117-118
3 15-16 7 71-72 19a 119-120
4 1 17-18 16 8 73-74 28 20 121-122
1 19-20 8 75-76 20a 123-124
1a 21-22
1 23-24
5 2 25-26 17 9 77-78 29 21 125-126

2 27-28 9 79-80 21a 127-128
21 129-130
21a 131-132
6 3 29-30 18 10 81-82 30 22 133-134
3 31-32 10 83-84 22 135-136
7 4 33-34 19 11 85-86 31 23 137-138
4 35-36 11 87-88 23 139-140
8 5 37-38 20 12 89-90 32 24 141-142
5a 39-40 12 91-92 24 143-144
9 1 41-42 21 13 93-94 33 25 145
1 43-44 13 95-96 25 146
1a 45-46 25 147
1 47-48
10 2 49-50 22 14 97-98 34 26 148-149

2 51-52 14 99-100
11 3 53-54 23 15 101-102
3 55-56 15a 103-104
12 4 57-58 24 16 105-106
4 59-60 16 107-108
24
Mathes, James. The Analysis of Musical Form. (Upper Saddle River, N.J.: Pearson Prentice Hall, 2007), 371.
25
The phrases are labeled according to the musical material they contain. Each new number represents a new
phrase. Phrase variants are distinguished by the letter attached to the phrase number (e. g. 5a).
32
There are 26 different phrases in the A section overall. It is worth noting that phrases
1, 2, 3, 4, 5 and their corresponding groups reappear throughout the first 64 measures (see
Table 5). However, starting from the first statement of phrase 6 in measures 65-66, new
phrase material continues to be added until the first statement of phrase 26 (measures 148-
149) at the end of the section.
Such a principle of phrase pairing may derive from folk songs, and the composer
himself acknowledged the role of folklore in his music. 26 Comparing an excerpt from
Pelēcis’ New Year’s Music (example 30) with the Russian folk song Vo Pole Beriezka
Stoyala [Little Birch Tree Was Standing in the Field] (example 31) we can see signs of
inspiration from folklore: note the paired phrase principle present in both. The difference
between these two examples is that while in New Year’s Music each phrase consists of two
measures, in Vo Pole Beriezka Stoyala the phrases are three measures long.
Example 30: Pelēcis, New Year’s Music, mm. 214-221
26
Latvian Academy of Music. “Georgs, Pelēcis: Latvian Composer and Musicologist,” Last updated March 7,
2002. Accessed on July 7, 2017. www.music.lv/Composers/Pelecis
33
Example 31: Russian Folk Song Vo Pole Beriezka Stoyala
The A section displays two basic types of harmony: tonal and modal. With regard to
the tonal type, the F major key area is clearly supported by functional harmony such as the
harmonic progression I, IV, V, I seen in example 32.
I6 IV V I
This harmonic progression has a full cadence that includes the subdominant, dominant and
tonic. It is not by chance that this feature links Pelēcis’ style to music from the Classical and
Romantic periods. According to the composer, his ideals have always been grounded in the
music of the past rather than in contemporary practice. 27
27
Straznov, Georg and Georgs, Pelēcis. “Apokalipsis: variant kompozitora Georga Pelecisa,” accessed on July
AP).
34
Examples of the modal approach - where the pitch material is provided by different
diatonic modes based on D - are seen in measures 117-124 with the employment of the
Phrygian mode (example 33) and in measures 125-132 with the employment of the Dorian
mode (example 34).
Pelēcis’ characteristic approach reveals itself through ambiguities between modal and
tonal approaches: the tonicized D of measures 115-116 with an authentic V-I cadence is
closely followed by the D Phrygian modal passage in measure 117 (see measures 115-117 of
example 33). For a performer, it may be wise to distinguish the “colour” of the Phrygian
mode and bring out its characteristic lowered second degree (in this case, E-flat). Since the E-
flat occurs in the bass, it may also be worth highlighting it by means of a more percussive
attack with the fifth finger.
The transition between the A and the B sections is marked by a modulation to D
minor, emphasized by the preparatory repeating IV6 –V pattern in measures 148 and 149
35
(example 35). The dominant resolves to the tonic of D minor in measure 150, the first
measure of the B section. For the performer it may be worth considering a two-bar dynamic
build-up into the B section in measures 148-149 to emphasize the accumulating harmonic
tension.
3.3 The B section
The B section is distinguished by repeated eighth-notes in the left hand that continue
throughout the first 56 measures of the section, from measure 150 until measure 205 (in the
right hand, the same rhythmic pattern continues for 8 measures, from measure 150 until
measure 157), emphasizing the percussive attributes of the piano similar to those already
discussed in relation to the Prelude in F major (see section 1.5).
The passage between measures 150 and 157 of the B section (see measures 150-153
of example 35) is viewed by musicologist Olga Loiko in the following way:
36
Steps in seconds between the chords on the tonic and dominant pedal points begin to
sound like a spell, causing a hypnotic effect. 28
Given the absence of dynamic indications throughout the entire section, the awareness
of this possible effect, noted by Loiko, may influence the performer’s dynamic choice. In this
light, the clear choice is to aim for a unified dynamic throughout the section, underlining its
uniform repetitive nature in order to conjure a hypnotic effect.
3.4 The C and D Sections
In the C section, the homophonic texture and quarter-note walking pace is resumed,
recalling the A section. Similar to the beginning of the A section, the C section starts with a
full cadence of IV-V-I. However, this time the key is D minor (see example 30). This minor
mode may thus be coloured by a more intense legato articulation in the right hand to contrast
with the beginning of the piece, where the upbeats are marked staccato (example 32).
The D section begins in measure 254 as a lyrical interlude with four-bar phrases
distinguished by singing melodic lines in the right hand and eighth-note accompanying
figurations in the left hand. This type of writing is common for Pelēcis’ piano works, seen in
New Year’s Music (see measure 254 of example 36), the second movement of Piano Sonata
(1988, example 37), and the second movement of Suite No.1 for Piano (1980, example 38).
The same type of writing (extended melodies in the upper voices with arpeggiated
accompanying figures in the lower voices) may be found in Pelēcis’ teacher Aram
Khachaturian’s Masquerade Suite, Romance (1944, example 39), which might have provided
compositional inspiration.
28
Loiko, Olga. “Funkcionalnaia organizacia muzykalnoi formy v usloviah repetitivnoi tehniki (na primere A.
Pärta, V. Martynova, N. Korndorfa, G. Pelēcisa),” (PhD. Diss., Belarus State Academy of Music, 2016), 109.
37
Example 37: Pelēcis, Piano Sonata, Movement 2, mm. 1-4
38
Example 39: Khachaturian, Romance from Masquerade Suite, mm. 1-6
3.5 The E section
The concluding E section presents a considerable change in texture and rhythm, as
well as a change in meter from 4/4 to 3/2. This section is characterized by a continuous,
flowing figuration in the bass line, structured as a pulsating one-bar ostinato (see example
40).
One may assume that in this section the composer drew his inspiration in part from the
minimalist aesthetic, which is characterized by the use of repetitive rhythmic patterns and
39
harmonic simplicity. This possible source of inspiration was discussed in section 2.5. On this
matter the composer has further remarked:
I feel kinship with minimalism and the repetitive style. However, such a superficial
conception of musical beauty confuses me, and I am 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. 29
One may find a certain “spell-weaving” trance-like quality in the persistence of the
left-hand rhythmic pattern and the right-hand motivic repetition in this section (see example
41). This effect may parallel that of the B section (with its eighth-note rhythmic ostinato), as
observed by Olga Loiko (see section 3.3).
Later in the E section, sixteenth-note figurations in the right hand are superimposed
over the left-hand rhythmic pattern. Some resemblance may be found with the piano writing
of Pelēcis’ American contemporary, minimalist composer Philip Glass (b. 1937), as in some
sections of the latter’s Metamorphosis Two (1988, example 42).
29
Karp, Ivan. “Peletsis, Georgy,” in Contemporary Composers, eds. by Brian Morton and Pamela Collins.
(Chicago: St. James Press, 1992): 737.
40
Example 42: Glass, Metamorphosis Two, mm. 35-38
There are nevertheless instances when the repetitive left-hand rhythmic pattern
changes, as occurs with the change in meter from 3/2 to 7/4 in measure 404 (example 43).
41
It may be sensible for the performer to pay attention to the change of the left-hand pattern and
to emphasize the high G. This G is the highest pitch employed in the pattern; it also
contributes to the pattern’s extension by one quarter-note.
In the concluding twelve measures, a two-note motive predominates, for which the
composer designated an extra staff in the middle of the system as seen in example 44.
This motive consists of a descending minor third from F to D, and is repeated twelve times. It
is superimposed onto the other two independent repeated patterns (each one bar in length)
creating what musicologist Olga Loiko has described as “poly-ostinato”. 30 Thus, it is
another case where such repetition of short motives in all three textural layers simultaneously
shows certain minimalist influences yet again.
30
Loiko, Olga. “Funkcionalnaia organizacia muzykalnoi formy v usloviah repetitivnoi tehniki (na primere A.
Pärta, V. Martynova, N. Korndorfa, G. Pelēcisa),” (PhD. Diss., Belarus State Academy of Music, 2016), 110.
42
Bearing in mind the programmatic nature of the work reflected in its title – New
Year’s Music – one might interpret that this motive represents a clock chime that beats twelve
times on New Year’s Eve. Loiko further supports this interpretation by pointing to the
composer’s numbering of the motives in the score. 31
Taking the interpretation even further, the motive’s pitch material and its descending
melodic curve may have been inspired by the sound of a particular Jantar clock chime. 32
This clock was manufactured by the Orlov Clock Factory [Orlovsky Chasovoy Zavod]
between 1950 and 2004 and has been used widely in Soviet households. 33 Thus, the
composer might have been exposed to this specific clock chime in the years prior to his
composition of New Year’s Music.
The clock chime association may suggest performing this motive with an even manner
of articulation, emphasizing each note and thereby distinguishing it from the two other layers.
Therefore, it would be appropriate to make use of the left-hand first finger on both notes to
ensure a consistently-weighted attack.
3.6 Challenges for the Performer
As discussed before, one of the characteristic features of Pelēcis’ compositional style
that presents a significant challenge for a performer is the absence of detailed performance
indications and expression markings. Interestingly, New Year’s Music and the Prelude in F
major each bear the same dynamic marking: a single forte in the first measure. However,
31
Ibid.
32
For reference, a sample of Jantar clock chime may be found at:
https://www.youtube.com/watch?v=iKxnqFO4IK0
33
For reference, the information on the Orlov Clock Factory can be found at: http://ussr-watch.com/orlovsky-
watch-factory/
43
bearing in mind the difference in length of the two works, the question of the dynamic
choices is more crucial in New Year’s Music due to its larger-scale form.
An interesting challenge of dynamic planning occurs in the D section from measure
301 onward (example 45).
Here I would like to reference the corresponding passage (08:42) in the recording of Alexei
Lubimov to review his approach to the dynamics.34 Lubimov makes a sudden dynamic
change to forte in measure 309, as suggested by the phrase organization and change in
texture. However, the bass pedal point (in measures 301-308), the repeated quarter-note
pattern in the left hand, and the rhythmic acceleration in the right hand may also suggest a
34
Lubimov, Aleksei. Pourquoi je suis si sentimental : post-avant-garde piano music from the ex-Soviet Union.
Djursholm, Sweden: BIS, 1995, compact disc.
44
gradual dynamic build-up leading to an arrival point in measure 309. Thus, I made my own
interpretive choice based on the latter criteria.
Another challenge in this work comes from its virtuosic demands. There are three
main types of keyboard technique synthesized in New Year’s Music, that are characteristic of
Pelēcis’ piano writing in general: sequences of octaves, often with leaps; parallel-thirds
passages; and wide harmonic intervals, such as tenths, that require a big stretch of one hand.
An example of parallel octaves in the left hand occurs in measures 424-427 of the E
section. It coincides with an interruption of established figurations and a meter change from
3/2 to 4/4 in measure 424 (example 46).
This sudden change in the musical flow with octave passagework may require changing the
sound in the left hand to a fuller tone in order to bring out the change in character and texture.
Pelēcis’ octave passagework often employs multiple consecutive octave leaps, adding
to the performance difficulty. Such octave sequences can also be found, for example, in the
fourth movement of Suite No.1(1980, example 47) and Joyful March No.1(2010, example 48)
for piano. In both cases the octave leaps occur in the left-hand part.
45
Example 48: Pelēcis, Joyful March No.1, mm. 104-111
Parallel thirds are another typical element of Pelēcis’ piano writing in New Year’s
Music. In this case, these passages are not lengthy; however, they pose certain technical
challenges because of their speed (sixteenth-notes to be played at ♩=132 as seen in example
49).
Parallel thirds can be found in a lengthy passage in Marche funèbre, as the work’s
only real virtuosic element (example 50), and in the Prelude in E Major from Descendente
46
per Tertias (example 51). Comparisons between these examples and an excerpt from the
Piano Concerto by Pelēcis’ teacher, Aram Khachaturian (example 52) reveal similarities in
this type of passagework, particularly in their melodic contours. However, whereas Pelēcis
restricts his writing to parallel thirds, Khachaturian extends the variety of intervals used to
include fourths and sixths.
Example 51: Pelēcis, Prelude in E Major, mm. 57-63
47
Example 52: Khachaturian, Piano Concerto, Movement 3, mm. 374-377
Pelēcis’ Suite No.1(example 53) provides another example in which parallel thirds
technique is employed. This example is not unlike the opening of Beethoven’s Piano Sonata,
Op. 2, No.3 (1794, example 54): note the rotating double thirds in the right-hand part in both
examples.
Example 54: Beethoven, Piano Sonata, Op. 2, No.3, Movement 1, mm. 1-4
48
Large harmonic intervals in either hand are another common technical challenge in
the performance of Pelēcis’ piano music. One example may be found in New Year’s Music in
measures 214 and 216, where progressions of three harmonic tenths are employed in the left-
hand part (example 30). This type of writing poses significant challenges for pianists with
small hands. It is my impression that such passages, consisting of several consecutive wide
harmonic intervals performed at a fast tempo, are somewhat rare in the piano repertoire.
Although the employment of wide intervals as such can be found in the virtuosic piano
compositions of the Romantic era, notably the works of Franz Liszt and Sergei Rachmaninov,
these are not so often employed as progressions or repetitions at a fast tempo. Nonetheless,
they are often present in such layout in Pelēcis’ piano compositions, as in the fourth
movement of Suite No.1 (examples 53 and 55).
Since the fast tempo of both works, New Year’s Music and the fourth movement of
Suite No. 1, ♩=132 in both cases, does not allow for splitting of the intervals, this further
increases the level of difficulty. The most efficient way of addressing this challenge is to
rearrange the texture between the two hands whenever possible. The top voice of left-hand
wide harmonic interval may thus be played by the right hand. In this case, the fingering of the
right hands needs to be accommodated accordingly to allow the right-hand first finger to
participate in the left-hand part.
49
Conclusion
In summary, the three selected works exhibit: the use of the march in Prelude in F
major, the theme of spirituality in Marche funèbre, and the synthesis of stylistic elements in
New Year’s Music, in which Pelēcis realized his full compositional style.
Several significant features of Pelēcis’ style were brought to light through the analysis
of these three works. These are tonal and modal harmony, major-minor interplay, minimalist
influence and a predilection for a through-composed form.
Prelude in F major is an example of a smaller-scale work, which reveals a march
stylistic influence in its use of persistent rhythm. Some possible sources of inspiration for
Pelēcis, such as the pioneer marches and works by his former master Aram Khachaturian and
Sergei Prokofiev became evident through the analysis.
Marche funèbre is an example of a unique treatment of the funeral march model. Its
spiritual dimension was discussed in connection to Pelēcis’ religious outlook as well as its
possible parallels with the music of other minimalist composers, namely Arvo Pärt and
Vladimir Martynov. Possible connections to the Romantic style were explored.
New Year’s Music demonstrates a synthesis of the composer’s stylistic elements. The
analysis of its form revealed a unique use of the through-composed principle in combination
with phrase pairings. The work’s virtuosic components provided insights into Pelēcis’ piano
writing.
The analysis of these works alongside the composer’s comments helps us to
understand Pelēcis’ style and to make informed interpretative choices when performing his
music. The awareness of the composer’s beliefs in the ideals of euphony, beauty, and
spirituality further deepens this understanding.
50
Interest in Pelēcis’ works has grown more and more over the last few decades. The
composer assesses this tendency in the following way:
My definition of music, with which not many would agree, is: “Music is a sounding
beauty and an attribute of celebration.” My music does not clearly belong to the
“mainstream”. At least it is not typical for either our cultural spaces or abroad.
However, it arouses more and more interest lately. Perhaps there is some beauty
deficiency in our lives. This might be the reason for a new chapter in my life. 35
It is my impression that such a view on the role of music has significance in our
turbulent times. In the context of wars, terrorism threats, and political tensions the
significance of Pelēcis’ music lies in his humanistic and spiritual ideals. This music is meant
to project what the composer calls “eternal themes” and “ever relevant categories” – love,
church, and beauty. 36 It is my belief that music that deals with these humanistic ideals is
extremely vital today.
Performers may find certain features in Pelēcis’ works that are quite appealing. His
compositions are contrasting in scope and varied in expression. Some provide an opportunity
to showcase virtuosic abilities, while others call for the ability to project lyricism through a
singing tone and expressive phrasing. Not least, Pelēcis’ works, due to the aforementioned
scarcity of performance indications, intentionally leave space for the performer’s
interpretation. This latter quality, while posing a certain challenge, opens up possibilities for
stimulating creative input from the performer.
35
Lebedeva, Natalia and Georgs Pelēcis. “Komunizm v zamke Esterhazi,” Vesti Segodnia, June 6 2006, 14.
36
Petraškevičs, Jānis and Georgs Pelēcis. “Meistara slepenās lietas,” Rigas Laiks 3 (2017), 62. (Translated by
author, AP)
51
For all these reasons Pelēcis’ music can be rewarding to perform. As observed above,
there is also a clear social demand for it. Therefore, there are solid grounds for optimism that
the appreciation of Georgs Pelēcis’ music will continue to grow in future years.
52
Bibliography
Burke, Richard N. “The ‘marche funebre’ from Beethoven to Mahler.” Ph.D. Dissertation,
City University of New York, 1991.
Day-O’Connell, Jeremy. “Pentatonic,” Grove Music Online, Oxford Music Online, accessed
on July 8, 2017,
http://www.oxfordmusiconline.com.proxy3.library.mcgill.ca/subscriber/article/grove/m
usic/21263.
Hilfiger, John Jay. “Funeral Marches, Dirges, and Wind Bands in the Nineteenth
Century.” Journal of Band Research 28, no. 1 (Fall, 1992): 1-14.
Johnson, Timothy A. “Minimalism: Aesthetic, Style, or Technique?” The Musical
Quarterly. 78, no. 4 (1994): 742-773.
Karp, Ivan. “Peletsis, Georgy,” in Contemporary Composers, eds. by Brian Morton and
Pamela Collins: 737-738. Chicago: St. James Press, 1992.
Krauja, Vita and Georgs Pelēcis. “Baltās vārnas augstais lidojums,” Kultūr Zīmes, February
14 to 20, 2017. (Translated by author, AP).
Latvian Academy of Music. “Georgs, Pelēcis: Latvian Composer and Musicologist,” Last
updated March 7, 2002. Accessed on July 7, 2017. www.music.lv/Composers/Pelecis
Lebedeva, Natalia and Georgs Pelēcis. “Komunizm v zamke Esterhazi,” Vesti Segodnia, June
6, 2006. (Translated by author, AP).
Loiko, Olga. “Funkcionalnaia organizacia muzykalnoi formy v usloviah repetitivnoi tehniki
(na primere A. Pärta, V. Martynova, N. Korndorfa, G. Pelēcisa),” PhD. Dissertation,
Belarus State Academy of Music, 2016. (Translated by author, AP).
53
Lubimov, Aleksei. Pourquoi je suis si sentimental: post-avant-garde piano music from the
ex-Soviet Union. Djursholm, Sweden: BIS, 1995, compact disc.
Lūsiņa, Inese. Georgs Pelēcis. Latvian Music Information Centre Brochure, 2003.
Lūsiņa, Inese and Georgs Pelēcis. “Lūk, ceriņi! Lūk,jasmīns!” Kulturas diena un izklaide,
February 16, 2017. (Translated by author, AP).
Mathes, James. The Analysis of Musical Form. Upper Saddle River, N.J.: Pearson Prentice
Hall, 2007.
Mikkonen, Simo. Music and Power in the Soviet 1930s: A History of Composers'
Bureaucracy. Lewiston, NY: Edwin Mellen Press, 2009.
Pelēcis, Georgs. Descendente per Tertias: 30 Preludes for Piano. Riga: Musika Baltika,
2013.
Pelēcis, Georgs. New Year’s Music for Piano. Bruxelles: La Nouvelle Musique Consonante,
1995.
Petraškevičs, Jānis and Georgs Pelēcis. “Meistara slepenās lietas,” Rigas Laiks 3 (2017): 57-
63. (Translated by author, AP).
Schwandt, Erich and Andrew Lamb. “March,” Grove Music Online, Oxford Music Online,
accessed on July 8, 2017.
http://www.oxfordmusiconline.com.proxy3.library.mcgill.ca/subscriber/article/grove/m
usic/40080.
Shavrey, Andrey and Georgs Pelēcis. “Requiem – eto ne strashno,” Zhizh zamechatelnyh
liudei 45, no. 106 (2006): 30. (Translated by author, AP).
. “Ya ditja svoego veka,” Published on February 19, 2017. Accessed July 4, 2017.
http://rus.lsm.lv/statja/kultura/kultura/georg-pelecis-posle-mirovoy-premeri-svoego-
proizvedenija--ya-ditja-svoego-veka.a224508/ (translated by author, AP).
54
Straznov, Georg and Georgs, Pelēcis. “Apokalipsis: variant kompozitora Georga Pelēcisa,”
accessed on July 8, 2017, http://lifenews.vesti.lv/news/apokalipsis-variant-
kompozitora-georga-pelecisa (translated by author, AP).
Vidiakina, Svetlana. “Georgs Pelēcis,” accessed July 19, 2017,
http://www.russkije.lv/ru/lib/read/georgy-peletsis.html (translated by author, AP).
55

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The Piano Music of Georgs Pelēcis:

A Study of Selected Works

Schulich School of Music, McGill University, Montreal

A paper submitted to McGill University in partial

fulfillment of the requirements of the degree of D.Mus. Performance Studies

© Anna Peletsis 2017

this work, their comments and ideas.

To my colleagues, pianists Tatiana Dardykina, Geoffrey Conquer and Jeremy Chaulk,

compositeur: le diatonisme, l’interaction entre majeur et mineur, et des motifs rythmiques

jouer ces œuvres.

Example 1: Pelēcis, Prelude in F major, mm. 1-15................................................................... 6

Table 1: Tonal plan of Pēlecis’ cycle, Descendente per Tertias ............................................... 4

prominent Soviet composer Aram Khachaturian at the Tchaikovsky Moscow State

Conservatory. Pelēcis is regarded as one of the most distinguished composers in Latvia: he is

live and recorded.

Australian Broadcasting Corporation.

With regard to Pelēcis’ style, musicologist Inese Lūsiņa commented:

He addresses us, cultivating positive, bright emotions, releasing a child-like happiness

consideration is for the music to sound harmonious. Harmony is a concordance and

I know that for me euphony is very important - imperfect consonances... This is an

beautiful. Everything that is created by Absolute – life, human being – is beautiful.

more depth in section 2.2.

certain characteristic features of the composer’s style: diatonicism, major-minor interplay,

and persistent rhythmic patterns.

will also be discussed.

the goal of my discussion, given the scarcity of performance indications, is to deepen

performers’ understanding of the stylistic features by way of an analytical approach to form,

harmony, rhythm, melody, and texture.

Descendente per Tertias or “Descending by Thirds” is a cycle of thirty preludes

Table 1: Tonal plan of Pelēcis’ cycle, Descendente per Tertias

1: C-sharp major 11: D major 21: E-flat major

2: A-sharp minor 12: B minor 22: C minor

3: F-sharp major 13: G major 23: A-flat major

4: D-sharp minor 14: E minor 24: F minor

5: B major 15: C major 25: D-flat major

6: G-sharp minor 16: A minor 26: B-flat minor

7: E major 17: F major 27: G-flat major

8: C-sharp minor 18: D minor 28: E-flat minor

9: A major 19: B-flat major 29: C-flat major

10: F-sharp minor 20: G minor 30: A-flat minor

characteristic features of Pelēcis’ style including diatonicism, major/minor interplay, a

Table 2: Formal plan for Pelēcis’ Prelude in F Major

Section Measure numbers

1.2 Stylistic Influence and Socio-Cultural Context

influence of the march.

Example 1: Pelēcis, Prelude in F major, mm. 1-15

Example 2: Koval, Pioneer March, mm. 1-5

1.3 Melody and Harmony

The introduction of the Prelude in F major is characterized by the triadic contour of

Pictures at an Exhibition (1874) by Modest Mussorgsky (example 3).

Example 3: Mussorgsky, Promenade from Pictures at an Exhibition, mm. 1-2

it in tandem with persistent rhythmic patterns in both hands.

The harmony of Pelēcis’ Prelude in F major is characterized by switches in modality,

Example 4: Pelēcis, Prelude in F major, mm. 78-81

introduction. A functional dominant seventh chord in F major, with an added fourth, is

emphasized by its repetition in the three subsequent measures, as shown in example 5:

Example 5: Pelēcis, Prelude in F major, mm. 1-8

harmony in a variety of registers. An interpreter may use this as an opportunity to showcase

the tonal colours that this register variety has to offer.